Volume 03 Issue 06-2023
76
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
03
ISSUE
06
Pages:
76-85
SJIF
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(2021:
5.478
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5.636
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6.741
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1368736135
A
BSTRACT
This article discusses how acting is the foundation of performing arts. Recommendations for stage behavior
are given. K.S.Stanislavsky's definitions of behavior are cited in examples of proof of opinion.
K
EYWORDS
Behavior, scene, image, "if", character, theater, emotion, image, mind, will, emotion, actor, stage behavior,
psychophysical process, physical movement, behavior without objects, exercise, etude.
I
NTRODUCTION
Acting is the art of stage movement. Movement is
the foundation of acting. Hatti - action: a given
condition - a psychophysical process on the way
to achieving a goal in the struggle with conditions.
Thinking, sensing, seeing, and the physical state of
the actor's image are united into a whole during
the action. Action is a physical embodiment of the
actor's creativity compared to the goal-oriented,
mental thoughts and feelings, that is, behavior is
a product of the actor's creativity.
K.S.Stanislavsky "One must act in the world. The
art of acting is based on behavior, activity. The
word "drama" itself means "action taking place"
in ancient Greek. The Latin word acteo is similar
to the word drama, the root of this word act has
also passed into our words "activity", "actor",
"act". Thus, the word drama on the stage is a
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Research Article
BEHAVIOR AS THE BASIS OF PERFORMING ART
Submission Date:
June 04, 2023,
Accepted Date:
June 09, 2023,
Published Date:
June 14, 2023
Crossref doi:
https://doi.org/10.37547/ijasr-03-06-14
Shavkat Shukhratovich Rasulov
Associate Professor, Uzbekistan State Institute Of Arts And Culture, Uzbekistan
Volume 03 Issue 06-2023
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International Journal of Advance Scientific Research
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Pages:
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person
who
acts
before
our
eyes.
K.S.Stanislavskyi says "it is necessary to act on
stage, dramatic art is important in active action."
On the stage, it is necessary not to act for the sake
of action, but to act towards a specific goal.
Stage action should be a purposeful action based
on inner feelings. It is necessary to act under the
influence of experiences and images rather than
acting out experiences and images.
Any action, says K.S. Stanislavsky, is a mental-
physical act, consisting of physical and mental
aspects and closely related to each other. If any
physical action has a spiritual basis, it serves as a
tool for performing any spiritual action. For
example: in order to calm down a person who is
deeply offended by a person, look carefully into
his eyes, sit next to him, listen to his pain, etc. it is
necessary to perform some physical activities
such as Here, physical action is subordinated to
mental action and is manifested in the character
of subordination.
"Inside every movement," says K.S. Stanislavsky,
there is an inner behavior, an experience. Physical
movement encourages us to think, to enrich us
with spiritual views. In order to activate physical
movement, each mental task must be delivered to
the mind of the actor with maximum physical
accuracy. For example: if an actor is given the task
to "encourage", it will be more difficult for him to
perform this task. If the task "make your partner
laugh" is given, then the desired activity will
appear.
Thus, we should look at the stage movement as a
mental-physical act on the way to achieve a
specific goal. One of the second most difficult
questions is: how to do organic, internally based,
realistic stage movement? To perform such an
action, K.S. Stanislavsky emphasizes that it is
permissible to introduce the "magical" word "if"
into the creative process.
"The word Agarda serves as an impetus for each
actor to move from existence to the world of
creation."
The word "if" prompts the actor to answer the
question with his own action. During the writing
of the poem, if the events in the work speak about
some characteristic, unique thoughts and feelings
of living in a certain period, in a certain country,
in a certain place or in a house, etc.
In turn, the actor said: "If all this was true, what
would I have done? What would I have done?”
-
question appears. This magic word "if" activates
the inner creative activity of the actor and
stimulates his imagination and fantasy. He
gradually gets into the invented "given
conditions" and begins to behave appropriately
and usefully.
Whatever happens on stage, everything should be
done with a purpose. He should sit there with a
purpose, not to show off to the audience. But this
is not an easy task. Acting art must be based on
behavior and activity.
Sitting still on stage does not indicate passivity,
but a person sitting still on stage may be acting.
But this is not an external-physical, but an
internal-psychic action.
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Therefore, physical stillness is often caused by
strong inner behavior. This is very important and
interesting for a creative actor. The value of art is
determined by its spiritual content.
Therefore, it is necessary to act both physically
and mentally on stage. With this, one of the
foundations of our art, the activity and mobility of
stage creation and art, will be fulfilled.
It is impossible to run and suffer on stage for
nothing. There is no need to act "at all" as if acting
on stage, but it is necessary to act reasonably,
purposefully and productively.
It is impossible to be jealous, excited, or sad when
you go out on stage. Some students try to do this,
but the feeling does not come alive, and then they
go on to exaggerate, to show the experience.
Emotion cannot be forced out. On the stage, the
actor should speak naturally, the way he speaks in
life, he should breathe freely on the stage as he
breathes, and most importantly, he should act in
a purposeful way.
In addition to the above, we quote R.Usmanov's
description of the behavior of the great Hegel:
"Behavior is the most clear and vivid description
of a person's character, which can show his
mental ability and purpose. It is possible to show
what he is like, what is in the deep places of his
heart only by his actions.
When can behavior become behavior? If he
overcomes an obstacle, he can act against an
action. Action is the basis of stage art, but any
action cannot express the infinite cause and effect
of reality and the interdependence of times.
Therefore, pop culture is the cause of
innumerable connections, it chooses a specific
behavior that allows its development and conflict
resolution.
The complexity of theater art and its difference
from other arts is that the actor creates in front of
the audience, and a lot depends on their joint life.
The actor is required to live with real emotions, to
get into character, to act. But how?
In order to create a live theater, K.S. Stanislavsky
and V.I. Nemirovich-Danchenko turn to the
dramaturgy of A.P. Chekhov and A.M. Gorky.
Because in the center of the works of these
writers, the person himself, his mood, feelings
and intuitions were on a high flight. In these
works, there is an environment and a mood that
arouses sensations and emotions and serves to
change them. These performances became the
basis for making a turn in the theater aesthetics
and acting method.
But later, a number of problems, in particular,
situations where the actor falls into the grip of his
emotions, as in real life, force K. S. Stanislavsky to
look for the supporting points that move the
actor's psyche. Relying on the achievements of
psychology of his time, K. S. Stanislavsky realizes
that the only factor that causes emotions is action.
It is known that the power that moves the human
psyche is mind, will and emotion. Too much self-
conscious control in the work of a pop actor stifles
free creativity. Emotions cannot be stored firmly
in memory. We can only remember voluntary
action. When any action is met with a counter-
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SJIF
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)
(2023:
6.741
)
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1368736135
action, a commensurate emotion is aroused as a
result of the achievement or failure of the goal. K.
S. Stanislavsky invented that volitional behavior
is the main law of the psychology of acting, the
only factor that provokes emotions.
This great discovery is the impetus for the stage
emotions. The term "actor" also means one who
acts. Stage emotions are the product of the actor's
voluntary and involuntary creativity.
Thus, K.S. Stanislavsky's creative research into
the nature of the actor goes through three stages:
1st stage: arousing emotions by using
intelligence; 2nd stage: arousal by directly
affecting emotions; Stage 3: Achieving live
performance through effort and will.
Emotion - an actor's honest behavior and thinking
under the given conditions of the role.
Will is the manager of thoughts and feelings in
human activity. Therefore, the only tool and
weapon of acting art is action!
Stage behavior is the basis, lever, main tool, raw
material of actor's art that moves natural
existence into the world of imagination. It is
important to clearly define the behavior of an
actor. If the prescribed behavior does not serve to
arouse emotions, then there is no use of this
designation. Action is always entertaining. It can
be observed on stage.
"An actor demonstrates his art through behavior.
By means of these actions, sometimes physically,
sometimes imaginatively, sometimes intuitively,
the image he creates - a figure - strives towards
the goal he has set for himself. So, the behavior of
the actor is his only weapon on the stage. It is
through this behavior that the character's stage
life reaches the viewer. In turn, behavior is
motivated by internal sensations. Any movement,
in turn, acts as a trap for inner intuition.
Therefore, movement is the main principle of
acting technique.
Action takes place in some form of space and time.
In this kind of description, every word used is
important. To omit a word is to destroy the
concept. This definition can be briefly expressed
as follows. First of all, in the process of movement,
attention should be focused on ensuring the
continuity of mental and physical movement and
their organic integrity. It should not be forgotten
that the concept of physical movement envisaged
in
Stanislavsky's
"Physical
Movement
Methodology" is conditional. Stanislavsky, of
course, talks about the psychophysical process.
According to him, in the process of action, it is
necessary to pay more attention to the work that
needs to be done physically. Due to a lack of deep
understanding of this phrase, "physical
movement" has often been interpreted as a purely
mechanical movement. In Stanislavsky's theory,
physical movement refers to psychophysical
movement. That is the importance of teaching. A
specific physical action can evoke a specific
mental state in the actor, can evoke emotions.
Action is a process. It follows from this that it has
an introduction, node, development, climax and
solution. How does the stage action begin, based
on what laws does it develop, why, for what
reason does it end, or is it interrupted? If the
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answers to these questions are found, the process
will be clarified, its essence will be revealed.
What motivates our actions in everyday life is the
existing universe, with which we regularly
interact as the situation demands. These
situations are beyond our control or we create
them ourselves. In the scene, these situations are
suggested by the author or invented by us, and are
called given conditions. These situations motivate
us to act, continue and develop the process. The
method of sorting out the conditions given in the
selected work of the variety actor is the most
important factor in determining the nature of
stage emotions of this work.
Exacerbating given conditions is the law of stage
life. Escalation activates action. On the contrary,
the movement slows down. It should be
emphasized that it is important that the reaction
of the characters to the circumstances, events,
and events is sharp. It is impossible to achieve
artistry on the stage if it is derived only from the
reality of life, from logic in the everyday sense. It
is necessary to sharpen the stage reality.
"The law of sharpening is important not only for
comedy, but also for dramatic performances.
T.Williams is a skilled master of sharpening
conditions to the highest point. In his works
"Glass toys" - (Glass zverinets), "Dream tram" -
(Tram "Jelanie"), "Cat on a hot roof" - (Koshka na
raskalennoy kryshe) the tension of the events is
brought to the last points. This, in turn, serves to
make the work more entertaining and
overflowing with emotions."
When a new goal appears on the stage, behavior
is born, and together with this, it motivates the
actor to overcome various obstacles, i.e.
contradictions.
Contradiction (conflict) conflict, struggle is the
force that creates stage behavior. What is the
difference between "opposition" and "struggle"?
"Antagonism" is the opposition of someone and
someone. Or something against each other.
"Contradiction" is among high ideas and stands
above. It is subject to a wide range of conditions.
And "struggle" comes from a small circle of
conditions. This struggle is a struggle for a specific
goal. Conflict is the heart of stage behavior.
Coping with given conditions in a small circle on
the way to achieving a goal is the main factor of
the behavioral process. Development is related to
this struggle and is manifested by overcoming the
obstacle on the way to the goal. Obstacles can be
different. That is, it is possible to prevent or help
the action aimed at the goal.
The action ends with the achievement of one of
the contending parties' goal, or with the
emergence of new conditions, with the origin of a
new goal and a new action. It is useless to talk
about behavior without knowing the conditions
and purpose of a small circle.
"As we can see, there are the following factors in
the determination of behavior: Given conditions
or assumed conditions (consciously determined).
The goal (why, for what purpose?) - is consciously
determined. Psychophysical implementation of
the action (to achieve the goal what do I do?) -
transition from voluntary psychotechnics to
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involuntary action. Adaptation (how do I act?) -
behavior at the involuntary level" .
Given conditions and goals are determined
voluntarily by the mind using the mind. Behavior
occurs involuntarily at the subconscious level.
Stanislavsky's
Etude-based
Rehearsal,
or
"Physical Movement Style," is the foundation of
the above-mentioned process.
A variety actor performs his skills and the tasks
given to him by the director through direct and
indirect behavior. Action is also the main means
of scene expression. The main task of the art of
variety acting is to express the inner and outer
aspects of the image and the purpose of the
selected work through active, organic movement
directed towards one goal.
"Stage movement is understood differently in
different theater styles. If in experiential art,
behavior is understood as a living organic process
based on a certain goal, then the proponents of
imitative art do not understand organic behavior,
but its memory, or rather, the external form of the
visual medium”.
In the final part of the concept of stage movement,
it is said - "The movement takes place in some
form in space and time." Based on the unique
nature of theater art, it is important that events
take place in time and space. It is an important
condition that the happening event should be
spectacular, have a clear and bright form, the
tempo and pace (tempo-rhythm), and the
development of reality in a certain time. At this
point, the artistic, multifaceted and unique nature
of the movement is important. That is, these
requirements must be manifested in some new
form, not in one form, as stated in the doctrine of
"imitation". In what we recognize as
"experiential" art, the actor's always-live artistic
performance enriches the events and happenings
on stage.
"Each action has two starting points, one is
physical and the other is spiritual. Their
interdependence is called "psychophysical"
(spiritual-physical
or
internal-external)
movement. In order to get to know them closely,
we will consider each of them separately.
Physical activity.
Just as every physical movement has a spiritual
side, so also a spiritual movement has a physical
side. It is natural to ask the question, "If this is the
case, what is the point of distinguishing between
them?" . If under the influence of a certain amount
of force, we try to change the material world
surrounding us, the object, the state of things, we
call it a physical action.
For example, all physical actions performed on
stage are called physical acts. (Mixing, making
clay, cleaning the room, installing doors, etc.)
Actions related to sports, such as lifting stones,
kicking a ball, as well as washing, laundry, ironing,
making tea, sweeping the house, which are done
every day in life. and etc. are also examples of
physical movement.
Mental movement.
"We call the effect shown on human intuition,
consciousness, will, and desire as spiritual
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actions. In this case, a person affects not only the
affected object, but also his own mind. Therefore,
any action of the actor is carried out as a result of
this mental influence and takes the main place in
his creative process”.
Every action in our life that is related to emotions
is a mental action. An example of this is situations
in our daily life: we tell something to someone, we
trust someone, we praise someone, we
congratulate someone, we hurt someone, we
express our condolences to someone, and we
express love to someone. the actor fulfills the role
of the character in the literary work according to
the conditions given by the author.
Acting without props - practice of acting without
props is of great importance in the training of a
pop actor. Every action of the student should be
impressive within the scope of his ability. Even in
the process of working with stage props and
props, it is necessary to vividly describe his
attitude to the object. If the actor effectively uses
stage props in their place, the effectiveness of the
performance will increase. With their help, you
can tell the audience a lot of things without words.
The student must perform this task clearly and
convincingly. In the process of acting without
objects, the student requires a lot of attention,
imagination, memory of previous feelings, logic,
sequence and other acting skills. When working
on behavioral exercises without objects, it is
necessary to work many times with different
objects, to have a strong memory, to be able to
control the work being done through the mind.
"Working with imaginary objects is the basis of
simple, simple physical behavior, which is
considered the first important link in the creative
activity of an actor."
The process of working on acting exercises
without props is the foundation of the acting
profession. Acquiring acting skills is a process
that should be practiced not only in higher
education, but also during future creative
activities. These exercises are related to the
actor's div, and if they are systematically
continued, the important requirements for the
actor will be met. Unfortunately, in most cases,
the importance of this subject is not fully
understood by the student. This, of course, is
evidenced by the superficial approach of acting
teachers to the profession. In the first year, the
most important thing for an actor is to be able to
focus, to remain alone in public, to feel free on
stage, and to perform a number of responsible
tasks, such as acting exercises without props.
Behavioral exercises without props teach the
stage actor to understand the logic and
significance of simple physical actions that people
usually perform. A question may naturally arise
from this. Can't these exercises be done with real
objects? In contrast, if exercises are performed
with live objects, then this process is performed
automatically without any thought. The student
performing the exercise does not pay attention to
the small elements of the behavior of objects, does
not control the logical continuity. As a result, the
logical continuity of the behavior is broken, and
the viewer cannot convince himself of what he is
doing.
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"Act without objects is what is present in the
imagination of the actor, but is not visible to the
eyes, it means to make it appear as if it is there
before the eyes of the audience with the behavior
and skill of the actor. Acting without props is one
of the most fundamental elements of acting. It
enhances the imagination, the feeling of form, the
relationship with objects, which is most
necessary for the actor. Action without objects is
performed in existence through imagination.”
For example: scrubbing a baked potato, threading
a needle, slicing a lemon, etc. Exercises performed
with an imaginary object, developing memory
through muscles in physical movement, checking
its logical sequence, sensing objects with the help
of muscles, especially with fingers, are of great
importance.
Of course, these exercises also start from the
simplest ones. For example: dusting, writing a
letter, sweeping the house, putting on a dress,
shining shoes, etc. Then, a little more complicated,
i.e. exercises performed by imagining one or two
objects, are taught.
When performing a behavior exercise without
objects, the student should have a physical
behavior task that he has already performed in
his life. For example: making clay, quilting,
kneading dough, glass cutting. In the kneading
exercise, what is the student kneading the dough
for? For a sandwich or another dish? If bread is
for covering, then for whom is this bread
covering? What kind of day is it for him? What
kind of bread is this bread, patir bread or obi
bread? In the ingredients needed for kneading
dough on the table: what is its type, what is its
weight, how much dough is added, how and which
way to open the lid of the salt container, whether
the water is hot or cold, how big or small is the
weight of the bowl, the distance after putting the
ingredients, etc., the size, weight, and each He
should feel the objects in use. All these things
appear and are controlled by the imagination of
the actor. The student who is performing the
behavior exercise without objects should start
and finish the work by himself. After all, the
student comes to the stage, imagines the
imaginary objects as if they exist, first of all, he
believes in them, he concentrates on the work he
is doing. It cannot be broken when the work is
done (STOP) enough. This happens in many
acting and directing courses.
In the process of action without objects, "the actor
focuses on the action he is performing, its
elementary sub-joints. After all, without it, it will
not be possible to feel the whole behavior in a
holistic state. Paying attention to each small
element of the movement, feeling them, exercises
performed in a logical sequence become
convincing. These exercises teach young actors to
carefully control each action, even its smallest
elements. For this reason, it is appropriate for
students to perform work exercises with
imaginary objects without real objects”.
Communicating with a visible object is easier than
communicating with an imagined object. Because
the actor sees and acts in this process. In
performance through an invisible, imaginary
object, the actor performs, imagines, remembers,
and tries to perceive the shape of the object.
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Teaches to feel the object with muscles and div
parts.
During the lesson, you can conduct exercises in
the following order:
1. Behavioral exercises without objects:
-
kneading dough;
-
knitting a scarf;
-
glass cutting;
-
gift wrapping;
-
getting honey from a bee's nest;
-
outlet repair;
-
balloon patching;
-
preparation of molasses from grapes;
-
dutor adjustment;
-
shoe repair;
-
making a jug;
-
clay preparation, etc.
Do simple object-free behavior and add
conditioning to this exercise.
2. Light a match.
- The imaginary match is lit. Now you have to try
to light a real match. You need to remember the
size and weight of the match, and then do this
with an imaginary match.
- Lighting a real match and then lighting an
imaginary match should be repeated 5-10 times
until the movement without the object is logically
and clearly performed.
Conditions are attached to this exercise.
Why was the match lit?
- To enter the cave.
- To find a coin that fell on the ground in the dark.
- To put a jar on a sick person.
- To light the gas stove, etc.
Each exercise can be turned into an etude by
enriching it with conditions.
3. Performing an etude with an imaginary object.
He who has mastered the handling of a small
object of the imagination has mastered half the
science of acting.
- Each student should make a sketch with an
imaginary object. The exercise can be turned into
an etude by enriching it with conditions, goals,
and small events. In this: where, under what
conditions, why, for whom, for what purpose am
I working? it is necessary to find answers to the
questions.
- To sew a picture of the half moon on the
tablecloth.
- Laundry.
- Polishing shoes.
- Making dates from clay.
- Shaving.
- Scissor sharpening.
- Fishing.
- Lighting a fire in the furnace.
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Although the exercises are performed in different
conditions, it should be noted that the basic
physical movements are the same. Because only
desire, goals and moods change when performing
these exercises.
"In the words of K.S. Stanislavsky, "The creation
of a small reality is creativity itself... If someone
performs the smallest physical action within the
framework of the requirement, then he knows
half of the system" (K.S. Stanislavsky. Opera and
from a speech given at the drama studio,
November 9, 1955. Museum of Moscow Art
Institute. Stanislavsiky Archive)" .
R
EFERENCES
1.
Stanislavsky K.S. The actor's work on himself.
- T.: New age generation, 2010. - B 54.
2.
Usmanov R. Director. - T.: Science, 1997. B -
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