Stanislavski's doctrine of the super-task and end-to-end action. Theatrical group as an environment for socialization of a teenager

The action is carried out by “koloboks.” In many of his features, Carlson resembles another cartoon character who appeared almost simultaneously with him: Winnie the Pooh, Fyodor Khitruk. Both characters are fat and round, move awkwardly and chaotically, love to eat and, being unable to

Act one Scene one The action takes place on a stage with slightly blurry scenery, as if emerging from fog. Twilight, according to our plan, will give a feeling of remoteness of events in time, events seem to emerge from the layer of centuries, they are fuzzy, “sprinkled”

Act two Scene one Marching headquarters of the famous Turkic nobleman, Khan Aydin, a close relative of Attila and his confidant. Appius arrives here. The guards stop him as he approaches. After the necessary formalities, Appius is escorted to Aydin’s tent.

ACTION OR TRANSFORMATION 1. What can actually be considered a sufficient characteristic of human behavior - independent and completely independent of any context, existing both before the start of the actual actions and after their completion? What was possible

In an actor’s work on a role, both of these concepts occupy a particularly important place. Stanislavski saw them as the basis of everything we do on stage. “I work a lot,” he wrote, “and I believe that there is nothing more; super-task and end-to-end action - that’s the main thing in art.”

What is the super task and end-to-end action of the role? And why is their importance in the actor’s work so great?

Imagine that you have deeply and comprehensively studied the character of your hero, you know well who he is, what he is like, etc. But on stage you will not just have to show all this. The character of a person, his traits must be revealed and conveyed through some actions. The super-task and the end-to-end action of the role are the concepts that determine the main focus of all the actions of the performer on the stage, what should become their incentive.

Let's talk about each of these concepts separately, since they are different, although they are related to each other.

Let's start with the super task of the role . This is the main vital interest of our hero, the most important desire that drives all his actions in life, and, in particular, in the play. Gogol once wrote in his “Pre-Notification” for those who would like to play “The Inspector General” properly: “A smart actor must consider the main and primary work of each person, on which his life is spent, which constitutes a constant subject of thought, an eternal nail , sitting in the head. Having caught this main concern of the person he has taken, the actor must be filled with it himself in such a force that the thoughts and aspirations of the person he has taken will remain in his head inseparably throughout the entire performance of the play.”

It is this primary concern of the actor, the “head”, which constitutes the subject of all human actions, that we call the supertask of the role.

Each person has his own goal in life, his own direction. A person cannot live without it. His goal may be great or insignificant, beautiful or disgusting, but one way or another he strives for it. For one, personal comfort comes first: money, an apartment, a car, a dacha - this is the ideal and the limit of his aspirations. The second one dreams of devoting himself to science. The third wants the fame of an artist or artist. One wants to bring happiness and joy to people, and the other wants to rule over them, etc.

The ultimate goal of the role is to guide and at the same time captivate and inspire the performer. Speaking about the significance of the super task, Stanislavsky, as figurative comparison gave an example of the futility of preparing a good, rich broth, which cannot be eaten unless you heat it with fire. It’s the same on stage. An actor can act faithfully and conscientiously. But if he does not have a super task, then his entire behavior will be cold and indifferent. Only a super task - “fire” - can give his action on stage real activity and passion.

From this it becomes clear how important it is for a performer to find the ultimate task of his role, and, moreover, such a super task that would captivate him and warm him. The ultimate task must accurately express the essence of the hero’s life aspirations - and at the same time find an emotional response in the soul of the performer himself and his hero. Finding such a super task is very, very difficult, and it is not for nothing that Stanislavsky writes: “You need to try long and inquisitively to find a big, exciting and deep super task. How many super-tasks of all kinds need to be discarded and grown again. How many sights and unsuccessful searches have to be made before achieving the goal.” But this does not always happen. In addition, the hero can deceive others or be deceived himself. In order not to make a mistake, we need to compare all the actions, thoughts, feelings of our hero and look into his insides, see what lies there, what determines his attitude to everything that happens in the play.

Let's turn to acting persons our play. The sailor himself speaks about his ultimate task: “Let’s defeat the whites, and then... Oh, and then we’ll build a life, soldier. An unprecedented life." Obviously, this dream of an “unprecedented life,” a life for all the oppressed and disadvantaged, should become the ultimate goal of the role of the Sailor. If the Sailor had not uttered these words, we would still have come to her, having traced all the actions of the hero and asking ourselves the question: in the name of what he does them. “And the Soldier” admits his “primary concern”: he wants to improve his household, to improve, “to live in peace.” The woman does not say anything about her life goals, but, following her actions in the play, it is not difficult to guess - they are to return the goods taken away by the “boors”, return the old life.

In the difficult process of searching for a super task, the choice of its name plays an important role. When formulating the super-tasks of roles, students are often content with such general phrases as “I want happiness” (and who doesn’t want it?), “I want to serve the Motherland,” etc. Being essentially true, these phrases leave the performer indifferent and therefore of no benefit to they don't bring work. For a super task, you need to look (and you won’t find them right away) for precise, vivid words that would excite the performer and tease him. To define such a super task, the actor must still pass it through himself, make it his own, close and understandable. Then the super task of the role will actively participate in everything you do on stage and will fill your actions with active and passionate force.

If, say, playing the role of the Sailor, you are truly captivated by his dream of an “unprecedented life” for all working people, then you will not be able to remain indifferent when you meet the Soldier who is heading home. Your hands will begin to “itch” when you recognize the “counter” in a Woman, you will understand that you have nothing to fear - not even death, you will want to “beat the bastards”, fight with them “until your last breath”. The same thing will happen with other roles in the play. Justify the ultimate task of the role of a Woman, make it understandable to yourself, exciting (I had a house, “rare” paintings, jewelry, my own stable, and now these dirty and rude men, these “rabble” have robbed, taken away everything and are still shouting about justice. ..) and your eyes will “go white” from hatred for the Sailor, you will want to bite, fight, you will feel the ability to hit him, even kill him, just to get out of the hands of these “boors.” In other words, you will perform all the actions that your hero performs in the play naturally, without any effort, because you will be guided by a super task that is close to you and exciting.

Now about the end-to-end action of the role . This is the path that your hero in the play will follow, driven by his ultimate task. In other words: what he will strive for in the performance itself, what he will achieve in it.

The end-to-end action must subordinate and direct all actions performed by the actor in the play towards a single and specific goal. Without end-to-end action, the role is broken into pieces that are unrelated to each other. The actor acts without any idea of ​​what his actions are aimed at. Therefore, they can become random, chaotic, sometimes even contradictory.

A cross-cutting action is formulated (like a super-task) in one phase. This formulation should express with utmost specificity and accuracy the ultimate goal of the character’s actions.

To determine the end-to-end effect of the role, it is necessary to consider all the actions of the hero and establish their general direction, while not forgetting about the end-to-end effect of the entire performance - the struggle that will underlie it. Just as a river absorbs the waters of its tributaries, so the end-to-end action of the play should encompass the end-to-end actions of all the roles.

We already know that the cross-cutting, that is, the main, action of the play “At the Stop Station” should be the struggle for Soviet power, for the victory of the revolution. Let's try to establish cross-cutting role actions.

Let us remember the main actions of the Sailor that he performs. It is known that Sailor recruits volunteers into the Red Army. Having met the Soldier, he tries to win him over to his side, then exposes and detains the enemy. Even being seriously wounded, he continues to think about the fight. If we generalize these actions, establish their general direction, we will see that they are all strung together by one aspiration, one desire - to do everything possible to defeat the enemy. This will be the end-to-end action of the role. All the Soldier’s actions - his “revelations” in a conversation with the Sailor, an argument with him, waiting for a train, etc. - are aimed at getting home as quickly as possible. This is its end-to-end effect. Even though he ultimately ends up with Sailor. Sometimes this happens in life - a person strives for one thing, but ends up with another. Here is the Soldier - he strives to quickly get to the ground, to home, but as a result of the events that happen to him in the play, he realizes that the way home lies only through the defeat of the enemy, and joins the fight With him. The end-to-end action of the role in this case, naturally, is determined by the initial intentions of the sleeper - after all, it is they who direct all his actions until the end of the play, until the very moment when the Soldier “sees the light.” As for the Woman, her end-to-end action - all her actions testify to this - is to get to her people, to help them.

Knowing the end-to-end action of the future performance, having established the ultimate task and end-to-end action of the role, we already imagine the main line of action through which the character of our hero will be revealed. In future work we will concretize and clarify this line of action.

THROUGH EFFECT

When the actor understands the ultimate goal of the play, he must strive to ensure that all the thoughts, feelings of the person he portrays and all the actions arising from these thoughts and feelings would fulfill the ultimate goal of the play.
Let's take an example from "Woe from Wit." If we can define the super-task of Chatsky, who is the main exponent of the idea of ​​the play, with the words “I want to strive for freedom,” then the entire psychological life of the hero and all his actions should be aimed at achieving the intended super-task. Hence the merciless condemnation of everything and everyone who interferes with his desire for freedom, the desire to expose and fight all the famus, silent, cliff-toothed ones.
Stanislavsky calls such a single action directed towards a super-task a cross-cutting action.
Konstantin Sergeevich says that “a line of end-to-end action connects together, permeates, like a thread, scattered beads, all elements and directs them to a common super-task.”
We may be asked: what role does failed love for Sophia play in all this? And this is only one side of Chatsky’s struggle. The Famus society that he hates seeks to take away his beloved girl. The struggle for personal happiness flows into the cross-cutting action of the struggle for freedom and strengthens the super task.
If the actor does not string all his actions onto a single core of end-to-end action that leads him to the ultimate goal, then the role will never be played in such a way that we could talk about it as a serious artistic victory.
Most often, creative defeat awaits the actor when he replaces the end-to-end action with smaller, insignificant actions.
Let's imagine that the actor playing Chatsky says to himself: “I have many aspirations.” I strive to relax in my homeland after wanderings, I strive to have fun with all sorts of eccentrics, I strive to marry Sophia, I strive to snatch my old friend Platon Mikhailovich from the influence of his wife, etc. etc.
What will happen? The role will be broken down into separate small actions, and no matter how well they are played, there will be nothing left of the super-task that the author has invested in his work.
Struggling with such a fairly common phenomenon in the theater, Stanislavsky wrote: “This is why individually beautiful parts of your role do not make an impression and do not give satisfaction as a whole. Break the Apollo statue into small pieces and display each one separately. It’s unlikely that the fragments will catch the beholder.”
But let's try to take an example from Russian painting. Everyone, of course, is well aware of Surikov’s painting “Boyaryna Morozova.” This picture depicts the heroism of a Russian woman, ready to endure any torment and accept death for her truth. This broad content still excites the viewer, despite the long-outdated plot.
Thrown on the straw, shackled in chains, taken away to terrible torment, the noblewoman Morozova did not reconcile herself, did not submit. Her eyes sparkle, her pale face expresses impulse and inspiration, her hand is raised high, the fingers of which are folded for the two-fingered sign of the cross. All her movements, her entire impulse come down to one end-to-end action: I affirm my faith, I want to convince the people of it.
And the brilliant artist expressed this end-to-end action with amazing expression.
Now let’s imagine that the named end-to-end action is replaced by another. For example: I’m going to the torment and I want to say goodbye to Moscow and the people, or: I want to see my enemy - Tsar Alexei Mikhailovich, who is looking out from the lattice window of the church, or... You can imagine many more actions, but none of them would replace through action, so deeply and accurately found by Surikov.
And I think that the most inexperienced viewer will understand that, no matter how wonderfully painted the people, and Moscow of the 17th century, and the snow are, the picture would still not make such a strong impression if its primary task was violated.
Each end-to-end action in an organic work of art has its own counter-action, which enhances the end-to-end action.
Without looking away from the given example in painting, let us recall the laughing sexton who stands in the left group of people and mocks Morozova. He and the people around him are the bearers of counteraction.
Or Famusov, Skalozub, Molchalin, all the guests in Famusov’s house, the mythical princess Marya Alekseevna represent opposition hostile to Chatsky’s through-and-through action, and thereby further strengthen the latter.
Stanislavsky says: “If there were no counter-through action in the play and everything was arranged by itself, then the performers and those people whom they portray would have nothing to do on the stage, and the play itself would become inactive and therefore unstageable.”

Thus, for the artist himself, the through action is direct

continuation of the lines of aspiration of the engines of mental life, taking their toll

the beginning comes from the mind, will and feeling of the creative artist.

If there were no end-to-end action, all the pieces and tasks of the play, all proposed

circumstances, communication, adaptations, moments of truth and faith, etc.

they would vegetate apart from each other, without any hope of reviving.

But the line of end-to-end action connects together, pierces like a thread

scattered beads, all elements and directs them towards a common super task.

From now on, everything serves her.

How can I explain to you the enormous practical significance of end-to-end action and

super-tasks in our creativity?

You are best convinced by cases from real life. I will tell you

one of them.

Actress 3., who enjoyed success and love from the public, became interested

"system". She decided to retrain first and for this purpose temporarily left her job.

scenes. For several years 3. studied using a new method with different

teachers, completed the entire course and after that returned to the stage again.

Surprisingly, she did not have the same success. Found that the ex

the celebrity has lost the most valuable thing in her: spontaneity,

impulse, moments of inspiration. They were replaced by dryness, naturalistic details,

formal playing techniques and other shortcomings. It's easy to imagine the situation

poor artist. Every new appearance on stage turned into a

exam. This interfered with her play and aggravated her confusion, bewilderment,

turning into despair. She tested herself in different cities, guessing

that in the capital the enemies of the “system” are biased towards the new method. But also in

The provinces repeated the same thing. The poor artist was already cursing the “system” and

tried to renounce her. She tried to go back to the old trick, but it

she couldn't. On the one hand, the craft acting was lost

dexterity and faith in the old, and on the other hand, the absurdity was realized

old methods of playing compared to new ones that the artist loved. Left behind

from the old, she did not stick to the new and sat between two chairs. They said

that 3. decided to leave the stage and get married. Then there were rumors about her

intention to commit suicide.

At this time I had to see 3. on stage. At the end of the performance,

At her request, I went into her dressing room. The artist greeted me like

delinquent student. The performance ended long ago, the participants and employees

the theaters were gone, but she, not made up, still in costume, did not let out

me from my dressing room and with great excitement bordering on despair,

tried to find out the reasons for the change that had taken place in her. We went through all the moments of her

role and work on it, all the techniques she learned from the “system”. All

was true. The artist understood each part of it separately, but did not understand it as a whole.

assimilated creative foundations"systems".

“What about cross-cutting action, what about a super task?!” - I asked her.

I heard something in general outline knew about them, but it was just a theory,

not applied in practice.

"If you play without through action, then you are not acting on

scene in the proposed circumstances and with the magical “if only”; it means you don't

involve nature itself and its subconscious in creativity, you do not create

"life of the human spirit" role, as required by the main purpose and foundations

our art direction. Without them there is no "system". So you don't create

on stage, but simply perform separate, unrelated

exercises according to the "system". They are good for a school lesson, but not for

performance. You forgot that these exercises and weights exist in the "system"

necessary, first of all, for end-to-end action and for a super task. Here

why individually beautiful parts of your role do not make an impression and

do not provide overall satisfaction. Break the Apollo statue into small pieces and

show each of them separately. The fragments are unlikely to be captured

the beholder."

The next day a rehearsal was scheduled at home. I explained

the artist, how to permeate the pieces and tasks she has prepared with end-to-end action

and how to guide them towards a common overarching goal.

I grabbed this job with passion and asked to give it a few days

to get used to it. I went in and checked what she was doing without me, and

finally went to the theater to watch the performance in a new, revised form.

It is impossible to describe what happened that evening. She was a talented artist

rewarded for her torment and doubts. She was a stunning success. That's what

can do miraculous, wonderful, life-giving effects

and a super task.

Isn’t this a convincing example of their enormous importance in our art!

pauses. - Imagine an ideal human artist who will devote everything

yourself one big life goal: "to elevate and delight people with your high

art, to explain to them the innermost spiritual beauties of the works of geniuses."

Such a person-artist will go on stage to show and

explain to the assembled theater audience his new interpretation of the brilliant play

and role, which, in the opinion of the creator, better conveys the essence of the work.

Such a person-artist can give his life to a high and cultural mission

enlightenment of his contemporaries. He can, with the help of personal success,

to introduce into the crowd ideas and feelings that are close to his mind, soul, etc., etc.

You never know what lofty goals big people can have!

Let us agree in the future to name such life goals

human artist super-

super-tasks and super-cross-cutting actions.

What is this?

Instead of answering, I will tell you an incident from my life that helped me

understand (that is, feel) what is being discussed now.

Long ago, on one of our theater’s tours in St. Petersburg, on the eve of it

started, I was delayed by an unsuccessful, poorly prepared rehearsal.

Indignant, angry, tired, I left the theater. Suddenly my eyes

An unexpected picture presented itself. I saw a huge camp spread out

throughout the area in front of the theater building. Bonfires were burning, thousands of people were sitting,

they dozed and slept in the snow and on the benches they brought with them. Big crowd

I was waiting for the morning and the opening of the ticket office in order to get a closer number in

queues when selling tickets.

I was shocked. To appreciate the feat of these people, I had to ask

question to yourself: what event, what tempting prospect, what

an extraordinary phenomenon, what kind of world genius could make me not alone,

and shivering in the cold many nights in a row? This sacrifice is made in order to

to receive a piece of paper giving the right to approach the cash register without guarantee

get a ticket.

I was unable to resolve the question and imagine such an event,

which would force me to risk my health, and maybe even my life.

How great the importance of theater is for people! How deeply we must realize

This! What an honor and happiness to bring great joy to thousands of spectators,

ready to risk their lives for her! I wanted to create myself such a tall

goal, which I called super-super-

task. and its implementation is a super-through action.

After a short pause, Arkady Nikolaevich continued:

But woe, if on the way to a big final goal, be it a super task

plays and roles or the super-super task of an artist’s entire life, creating more than

should focus on a small, private task.

What will happen then?

Here's what: remember how children, when playing, twirl a load above them or

a stone tied to a long rope. As it rotates, it winds around

a stick with which it is connected and from which it receives movement. Spinning fast

a rope with a load describes a circle and at the same time gradually winds around

a stick held by a child. Eventually the load will approach, connect with

with a stick and hits it.

Now imagine that in the midst of the game on the path of rotation

someone will lend their cane. Then, touching it, the rope with

the load will begin, by the inertia of movement, to wrap itself around the stick, from which

movement comes from the cane. As a result, the cargo will not reach the real

to its owner - a boy, and to a stranger who intercepted the rope on

your cane. In this case, naturally, the child will lose the opportunity

control your game and stay on the sidelines.

Something similar is happening in our business. Very often, when striving for

the ultimate super task, along the way you come across a side, unimportant

acting task. All the energy of a creative artist is given to her. If necessary

explain that such a replacement of a large goal with a small one is a dangerous phenomenon that distorts

all the artist's work.

19......g.

To make you appreciate even more the importance of the ultimate goal and

end-to-end action, I turn to the help of graphics,” said Arkady

Nikolaevich, going up to the large black board and taking a piece of chalk. - Normal,

so that all tasks and their short life lines of roles are directed

in one specific direction common to all - that is, towards a super task. Here

Arkady Nikolaevich drew on the board:

A long series of small, medium, large lines of life roles are directed to

one side - to the ultimate task. Short life lines of roles with their tasks,

logically sequentially alternating one after another, clinging to one another

another. Thanks to this, one continuous through line is created from them,

stretching throughout the entire play.

Now imagine for a moment that the artist does not have a super task, that

each of the short lines of life of the role he portrays is directed to different

Arkady Nikolaevich again hastened to illustrate his idea with a drawing,

depicting a broken line of through action:

Here are a number of large, medium, small tasks and small pieces of life roles,

directed in different directions. Can they create a continuous straight line?

We all admitted that they cannot.

Under these conditions, the through action is destroyed, the play is torn into

pieces, spread in different directions, and each of its parts is forced

exist on its own, outside of the whole. In this form, the individual parts

no matter how beautiful they are, they are not needed by themselves for the play.

I’m taking the third case,” Arkady Nikolaevich continued to explain. “As I already

said that in every good play its ultimate task and end-to-end action

organically follow from the very nature of the work. This can't be broken

with impunity, without killing the work itself.

Imagine that they want to introduce an extraneous element into the play that does not belong to

a goal or tendency towards it.

In this case, the super task is organically connected with the play and naturally

the end-to-end action being created partially remains, but they have to minutely

to be distracted towards the introduced tendency:

Such a play will not survive with a broken spine.

Against this, with all his theatrical temperament, he protested

Govorkov.

Excuse me, please, you are taking away all sorts of things from the director and the actor.

personal initiative, personal creativity, innermost self, opportunity

updating old art and bringing it closer to modernity!

Arkady Nikolaevich calmly explained to him:

You, like many of your like-minded people, mix and often incorrectly

you understand three words: eternity, modernity and simple topicality.

The modern can become eternal if it carries big questions,

deep ideas. Against such modernity, if the work needs it

poet, I do not protest.

In complete contrast to it, the narrowly topical will never become

eternal. It lives only today, and tomorrow it may be forgotten. That's why

an eternal work of art will never be organically related to a simple

topicality, no matter what tricks directors, actors and, in

in particular, yourself.

When an old, monolithic, classical work is forcibly

instill topicality or another goal alien to the play, then it becomes

wild meat beautiful body and often disfigures it beyond recognition.

The crippled super-task of the work does not attract or captivate, but only angers

and dislocates.

Violence is a bad means for creativity, and therefore “updated” with

with the help of topical trends, the super task becomes death for the play and

for her roles.

But it happens, however, that a trend becomes akin to a super task. We

we know that you can graft a branch of lemon tree onto an orange tree, and then

A new fruit grows, which is called "grapefruit" in America.

Such an inoculation can also be done in the play. Sometimes to the old

a classic work is naturally grafted with a modern idea,

rejuvenating the entire play. In this case, the trend ceases to exist

independently and degenerates into a super task.

Graphically this will be expressed in the following drawing: a line of through action,

reaching towards a super task and a trend.

In this case creative process proceeds normally, and organic

the nature of the work is not damaged. Conclusion from all that has been said:

Most of all, cherish the overarching task and the through action; be careful

with a forcibly introduced tendency and with others alien to the play

aspirations and goals.

If I managed to make you understand completely today

an exclusive, leading role in the creativity of the super task and end-to-end

explained to you one of the main points of the “system”. : After quite a long

After a pause, Arkady Nikolaevich continued:

Every action is met with a reaction, and the second

evokes and enhances the first. Therefore, in each play, next to the end-to-end

action, in the opposite direction, passes the oncoming one, hostile to it

counter-through action.

This is good and we should welcome this phenomenon because

opposition naturally provokes a series of new actions. We need this

constant clash: it gives rise to struggle, quarrel, dispute, a whole series

relevant problems and their resolution. It causes activity

effectiveness, which are the basis of our art.

If there were no counter-through action in the play and that’s all

was arranged by itself, then the performers and those persons whom they portray,

there would be nothing to do on the stage, and the play itself would become ineffective and

therefore unscenic.

Indeed, if Iago had not conducted his insidious intrigues, then Othello would not have

I would have to be jealous of Desdemona and kill her. But since the Moor with all his being

with his own strives for his beloved, and Iago stands between them with his

counter-through actions - a five-act, very effective tragedy is created

with a catastrophic end.

Is it necessary to add that the line of counter-through action develops

also from individual moments and from small life lines of the artist-role.

I will try to illustrate what I said using the example of Brand.

Let's say that we have established Brand's super task as his slogan: "everything or

nothing" (whether this is correct or not is not important for this example). Such

The fundamental principle of the fanatic is terrible. He doesn't allow any compromises,

watuggek, deviations in the “fulfillment” of the ideological goal of life.

Now try to connect individual

pieces of the passage "with diapers", at least the same ones that we once

dismantled.

I began to mentally take aim from baby diapers to the super task of “all or

nothing." Of course, with the help of imagination and fiction one can put in

dependence on one another, but this will be done with great reserve and

violence that will cripple the play.

It is much more natural that opposition appears on the part of the mother

instead of assistance, and therefore in this piece Agnes follows the line not through, but

counter-through action, not towards the super-task, but against it.

When I began to do similar work for the role of Brand himself and

was looking for connections between his task - "to persuade his wife to give up diapers - for the sake of

making a sacrifice" - and between the super task of the entire play - "all or nothing" - then

I was able to immediately find this connection. Naturally, the fanatic demanded everything -

for the sake of your life idea. Agnes's opposition caused increased action

Brand himself. Hence the struggle between two different principles.

Brand's duty is in conflict with his mother's love;

idea fights with feeling; fanatic pastor - with a suffering mother;

masculine - with feminine.

Therefore, in this scene, the through line is in the hands of

Branda, and the counter-through action is led by Agnes.

In conclusion, Arkady Nikolaevich, in a few words, schematically recalled

everything he talked about throughout this year's course.

This brief review helped me put everything in place

perceived during the first academic season.

Now listen to me with all your attention, as I will say something very

important,” said Arkady Nikolaevich. - All stages of the program completed with

the beginning of our school activities, all the research on individual elements,

produced during the school period of this year were committed for the sake of creating

internal stage well-being.

This is what we worked all winter for. This is what is required now and will be

always require your exclusive attention.

But even at this stage of its development, the internal stage well-being

not ready for subtle, penetrating searches for the ultimate task and end-to-end

actions. Creating well-being requires an important addition. Hidden in it

the main secret of the “system”, which justifies the most important of the foundations of our

art directions:

"The subconscious through the conscious." To study this addition and

We will start with the basics in the next lesson.

“So, the first course on the “system” is over, but “in my soul”, like

Gogol, “so vague, so strange.” I figured that our almost annual

work will lead me to "inspiration", but, unfortunately, in this sense

The "system" did not live up to my expectations."

With such thoughts I stood in the front of the theater, mechanically putting on my coat and

lazily wrapping a scarf around his neck. Suddenly someone launched a fire-ship at my side. I

screamed, turned around and saw Arkady Nikolaevich laughing.

Noticing my condition, he wanted to know the reason for the decreased

moods. I answered him evasively, but he stubbornly questioned me in detail.

asked:

How do you feel standing on stage? - he wanted to understand the confusion,

confusing me in the "system".

That's the thing, I don't feel anything special. I'm comfortable with

on the stage, I know what needs to be done, it’s not in vain that I’m standing there, not empty; I believe

everything, I am aware of my right to be on stage.

So what do you need more?! Is it bad not to lie on stage, to believe everything,

feel like a master? That's a lot! - Tortsov convinced me.

Then I confessed to him about inspiration.

That's it!.. - he exclaimed. - Regarding this part, you should not contact

to me. The "system" does not fabricate inspiration. She's just preparing for him

favorable soil. As for the question of whether it will come or not, then

Ask Apollo, or your nature, or chance. I'm not a wizard

and I show you only new decoys, methods of arousing feelings, experiences.

I advise you in the future not to chase the ghost of inspiration.

Leave this question to the sorceress of nature, and do what you need to do.

accessible to human consciousness.

Mikhail Semenovich Shchepkin wrote to his student Sergei Vasilievich

Shumsky: “You can sometimes play weakly, sometimes somewhat

satisfactorily (this often depends on the state of mind), but you will play

This is where your artistic aspirations and concerns should be directed.

A role put on the right track moves forward, expands and

deepens and ultimately leads to inspiration.

Until this happens, know for sure that a lie, a tune, a cliche and

breaking never gives birth to inspiration. So try to play it right

learn to prepare favorable soil for the "influx from above" and believe that it comes from

you will be much more at peace with this.

However, in the next lessons we will talk about inspiration. Let's sort it out and

him,” said Tortsov, leaving.

"Disassemble inspiration?!.. Reason, philosophize about it? But really

is this possible? Was I reasoning when I said at a show performance:

"Blood, Iago, blood!"? Was Maloletkova reasoning when she shouted her

the famous "Save!" Is it really possible that, like physical actions, their small

truths and moments of faith, we will be in crumbs, in pieces, in separate

flashes to collect and put together inspiration?!” I thought as I left the theater.