აკადემიური სიმღერა და მსახიობის ოსტატობა. პრობლემები და მათი გადაჭრის გზები

ანოტაცია

The art of music and drama is in harmony with the phenomenon of transformation of the singer-actor on the stage.The mechanism of interaction in operatic art – extrapolation of vocal, music and performing arts is not allowed in terms of singer, role and acting skills."Opera art considers different elements in itself, among which there is a reasonable balance, which creates a theatrical performance between spectacle on the one hand and drama on the other”.

Earlier the audience used to go to the theater to listen to the opera, now it goes to watch the opera performance. Today the audience is not satisfied with just the sound heard from the stage. It demands from a modern opera actor not only quality vocals, but also a complete transformation into a character, or "effective vocals", based on feelings – according to the stage actions. Therefore, along with the voice of the vocalist, the role and importance of acting in the opera is inevitably great.

The main distinguishing features in opera and drama acting are as follows:
1. An opera actor has a pre-defined rhythmic structure of speech.
2. The composer creates the background of emotions: happiness, excitement, joy, misfortune, etc.
3. The singer-actor is placed within a strict framework of musical
form.
4. Action arises from music, score.
5. An opera actor is looking for ways to realize a creative task. Acts not only through music, but also through the use of words ...

It is noteworthy that the problem, which is called the mastery of the actor in the operatic art, remains an eternal problem for both theatrical life and scientific thinking, and acquires a special urgency because:
1. The directorial and scenographic concept was developed.
2. Vocal art is perfected and conquers high peaks, while the actor's acting skills remain beyond the field of vision for the opera performer. Is it because there is still no clear and adapted synthetic method of raising a singer-actor, which combines dramatic and singing difficulties in itself? This issue is discussed by the director and teacher T. Abashidze: "The less effective the current method is that the elements are taught not in a complex, not collectively, not as part of the 'whole', but separately, in a combination: vocals, movement, acting skills.

Today, Georgian theatrical performance pedagogy uses the practical experience of Stanislavsky, M. Chekhov, Vs. Meyerhold, E. Vakhtangov, G. Tovstonogov, D. Aleksidze, G. Zhordania and other famous director-teachers. It is recommended to study modern musical-theatrical pedagogy, its complex analysis and create a modern methodology based on the same traditions for acting in academic singing, which will allow the student to devote appropriate time to vocal training, develop and strengthen acting skills and
successfully use operatic performances.