Dramatic étude in the contemporary theatre-pedagogical practice

Abstract

Étude in theatre pedagogy is considered to be the major element not only in the practical instruction of the students, but in deep understanding of MEA (method of efficient analysis). The concept étude is very important not only in the theory of theatre skills, but also in the practice of all, with no exception, theatre schools. It is worthwhile to say that the approaches to the étude can differ significantly. Sharp disputes over the necessity of including the étude in MPA (memory of physical actions and sensations) were held not only at universities, but also they are widespread in the theatrical literature and among the amateurs of theater. Meanwhile the Stanislavski method of acting is based on the principle of étude as a major element in understanding the profession and stage acting. It is important to analyze traditional and contemporary approaches to étude as a method of training the actors of the school of “reincarnation”, employed in the Theatrical academy at the Faculty of Arts of St. Petersburg University and which, as it seems to the author, can be employed in the pedagogical practice in other similar departments, which share the traditional values of Russian school and its urge to develop the sense for innovation. This could contribute to joining the efforts of teachers, which teach dramatic skills in order to develop our school.

Keywords:

Theatrical school, actor’s craftsmanship, dramatic art, specificity, nature, “reincarnation”, étude, method, an exercise, the truth, the proposed circumstances