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ON THE PHENOMENOLOGY OF AN ACTOR'S FACE ((K fenomenologii tvare herca)

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Vinar J.

Slovenské divadlo (Slovak Theatre)

2010

vol. 58

issue 1

47-56

The author, reputable Czech theatre theoretician, produced a comprehensive and for theatre important monograph on the role of an actor's work with his/her own face in the rendition of a dramatic figure and, hence, the function of the actor's face in the process (not only strictly limited to facial expressions) of change of an actor to a dramatic figure. The author examines this process from the different angles and traces back the less-known areas of perception and the use of the face in the theatre cultures of the Far East. The paper focuses on the elucidation of the presence of physiognomy in ancient Chinese culture and in ancient theatre. It is concluded by the author's statement that Roman pragmatism, certain indifference to the metaphysical problems of early philosophy, was outweighed by an interest in concrete specificities, in the present or about to begin time of the foreseeable future. The Roman art of divination, which interpreted omens, both seen and heard, and built on the art of 'reading from the face', served the above purpose. Here the Romans availed the classical knowledge of Greek anthropometry and physiognomy and given principles of corporeal beauty.

IRREPLACEABLE ROLE OF ACTOR'S UNIQUENESS: STANISLAVSKI'S WORK MADE ACTING SEARCH FOR ITS SOUL (Nezastupitelna role herecke jedinecnosti: vystoupenim Stanislavskeho se herectvi vydalo hledat svou dusi)

100%

Vinar J.

Slovenské divadlo (Slovak Theatre)

2011

vol. 59

issue 1

3-13

The search for intimacy is taken from the concept of how emotive a role is as the core experience. The range of emotions does not come across as a jealousy, anger, love an sich, but more as a changes in mood, which opens up a world of unique deep-rooted situations and a world of on going discourse as a whole. The actor is experiencing his artistic personality and character in creative tension. This fluctuation in changing moods corresponds with the varying bonds of actors - a figure /character and its formation. These findings add to its personification through using their artistic experience and Jouvet reflection. The actor and his character conduct a dialogue of multiple personalities. All of this is the basis of a spiritual tradition in what actors create and their training. History is becoming a 'well-trained actor' prepared by schools of clear cut indoctrination. The Present is a creative acting, going beyond the boundaries of mere current knowledge.

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2 Slovenské divadlo (Slovak Theatre)

2 Vinar J.

1 2011

1 2010

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ON THE PHENOMENOLOGY OF AN ACTOR'S FACE ((K fenomenologii tvare herca)

IRREPLACEABLE ROLE OF ACTOR'S UNIQUENESS: STANISLAVSKI'S WORK MADE ACTING SEARCH FOR ITS SOUL (Nezastupitelna role herecke jedinecnosti: vystoupenim Stanislavskeho se herectvi vydalo hledat svou dusi)