INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE
ISSN: 2692-5206, Impact Factor: 12,23
American Academic publishers, volume 05, issue 04,2025
Journal:
https://www.academicpublishers.org/journals/index.php/ijai
page 1774
PSYCHOLOGICAL AND TECHNICAL CHALLENGES OF AN ACTOR WORKING
WITH THE CAMERA
Eldor Khushvaqtov
Uzbek state institute of arts and culture
“Musical theatre art” department acting associate professor
Annotation:
This article examines the history of the development of Uzbek cinema and film
acting, its unique features, and its alignment with the times. It discusses the art of film acting
and its mastery, emphasizing the importance of an actor’s ability to express emotions and
movements in front of the camera, as well as the significance of the “authority of the
camera.” The article also specifically addresses K.S. Stanislavski’s acting method and its
influence on cinema. Additionally, the article reflects on the actor’s preparation for a role, the
importance of both internal and external preparation, and the necessity of possessing specific
details and specialized knowledge related to the profession. The differences between theater
and cinema, the process of working on a role, and the correctness of its execution are also
explored in depth.
Keywords:
Uzbek cinema, film acting, acting mastery, acting school, camera, emotions,
movement, camera authority, K.S. Stanislavski, actor preparation, internal and external
preparation, specialized knowledge, differences between theater and cinema, role, role
performance
Since the emergence of cinematography, the art of film acting has undergone various
stages of evolution.
Naturally, it must be acknowledged that Uzbek cinema has experienced different
political, economic, and moral crises throughout its history. Nevertheless, the unique identity
and traditional elements of national cinema have been preserved and continue to develop.
The behind-the-scenes processes, as well as the development of film acting and
directing schools, have contributed to the formation and timely evolution of national
cinema’s distinctive character.
When speaking about the history and development of national cinema, it is impossible
not to mention the Uzbek national acting and directing schools. Every form of art draws
nourishment from the traditions of its mastery school-cinema is no exception.
The foundation of this national mastery school is built on strong knowledge and
tradition. This, in turn, supports the formation, growth, and unique identity of the film art.
The incomparable talents who have contributed and continue to contribute to the growth of
national cinema have matured within the traditions of this school.
In every era and at every stage, like cinema itself, the profession of film acting has
taken on various forms. Many great figures of Uzbek cinema have, through their creative
work, laid the groundwork for the skills and techniques of a film acting school. Today, this
profession holds a unique place in Uzbek national cinema through its charm, values,
traditions, and performance styles.
In theater, the stage acts as a sacred space for the actor. In cinema, the camera plays a
crucial role. Although the camera is an inanimate object, every artist senses that viewers
INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE
ISSN: 2692-5206, Impact Factor: 12,23
American Academic publishers, volume 05, issue 04,2025
Journal:
https://www.academicpublishers.org/journals/index.php/ijai
page 1775
experience the film precisely through the lens of the camera. This awareness places a great
responsibility on the actor. Hence, the term “authority of the camera” is used among creative
professionals.
For a young artist just entering the world of cinema, the camera’s authority can be a
significant obstacle. No matter how talented or skilled an actor may be, nervousness in front
of the camera is natural.
More than a century ago, K.S. Stanislavski formulated principles of acting technique
that are still relevant not only for theater actors but also for those in cinema. Actors trained in
this method can perform in both media.
Stanislavski’s acting techniques serve equally well on stage and on set. However, the
film medium imposes additional demands, which Stanislavski had alluded to in a meaningful
way: “Everything appears on the screen-even the tiniest details are recorded.”
This observation by the great master of the theater and the founder of the acting method
school is thought-provoking.
The camera's gaze represents the eyes of millions of spectators. Everything in front of
the lens-even the smallest details-is visible to the viewer. This imposes great responsibility on
the actor, who must possess all tools of the craft while also maintaining strict control over
their appearance, movements, and gestures.
One of the most challenging tasks for a film actor is expressing the appropriate emotion
and physical action in front of the camera. Regardless of the external environment, the actor
must immerse themselves in the world of the film, activating their emotional memory and
performing actions based on the story's events.
In theater, the elevated stage and live audience create a shared experience between
actors and spectators. The ensemble of actors and the audience together support the emotional
and artistic expression. The audience often comes prepared, knowing the title, author, and
genre, and engages with the performance. The goal of theater actors is to touch the audience
spiritually, inspiring them through performance.
In cinema, the filming location can be any environment—street, café, store, or crowded
place. The actor is exposed to unfamiliar glances from people unaware that a film is being
shot. Unlike the unified goal in theater, in film, the actor must perform amidst distractions. In
some cases, the curious gaze of a stranger helps actors to concentrate better.
So, how should an actor behave in such a setting?
Where does the inspiration come from?
My teacher, director Bahodir Nazarov, once said:
“An actor performs a variety of roles throughout their creative life. Each role requires a
unique, individualized approach. This approach shapes and defines the actor’s talent and
versatility.”
Preparation for a role involves both psychological and physical readiness. Stanislavski
referred to this as “role hygiene.”
Unfortunately, many actors today focus more on external appearance than on inner
preparation. Some even treat being in front of the camera as an opportunity to look attractive,
disregarding internal work. This is a sign of disrespect toward the profession and, in some
cases, betrayal of the craft.
Experienced actors often set aside dedicated time for role preparation as a strict routine.
INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE
ISSN: 2692-5206, Impact Factor: 12,23
American Academic publishers, volume 05, issue 04,2025
Journal:
https://www.academicpublishers.org/journals/index.php/ijai
page 1776
Younger actors often neglect or are unaware of the importance of such preparation.
They may not understand the concept of role hygiene or the need for internal and external
readiness.
Acting teachers in theater schools must ensure that student actors are trained to prepare
adequately-whether for the stage or the camera.
Inspiring oneself spiritually and emotionally cannot be forced. This process involves tuning
emotional sensors to respond to the smallest changes-like a partner’s behavior, movement, or
inspiration-and using these subtle elements skillfully in performance.
This ability to discover, isolate, and apply micro-materials in performance is part of an
actor’s true mastery.
To avoid emotionless delivery in front of the camera, the actor must continuously
“polish” their internal “mental film reel.”
Upon hearing the director’s “action!” call, the actor must activate this inner film,
disconnect from the environment, focus solely on the camera and their partner, and enter the
performance with inspiration.
Whether it’s the beginning or the end of the script, the actor must be able to start
performing at full capacity the moment the cue is given.
Another critical requirement for a film actor is deep research into the character-
understanding their background, profession, and other details.
For instance, an actor playing a doctor must not only wear a white coat but also understand
how doctors behave, use their coat pockets, and perform specific actions.
Similarly, an actor portraying a police officer must know their rank and function, as these
influence how the uniform is worn and how equipment is used.
If actors don’t study their roles thoroughly or acquire necessary knowledge, they risk
making serious mistakes. Even small errors in front of the camera can negatively impact their
reputation and professional credibility.
The process of working on a role and acquiring specialized knowledge hones the
actor’s craft. Acting skill is essential not only on stage but also in front of the camera.
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Journal:
https://www.academicpublishers.org/journals/index.php/ijai
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