Osnove glumačkog umijeća

Abstract

Studenti pjevanja tijekom svojeg studija susreću se s mnoštvom elemenata koji sačinjavaju njihovu profesiju. Dio obrazovanja podudara se s obrazovanjem glazbenika instrumentalista, no ono što glazbenika pjevača razlikuje od drugih glazbenika jest aspekt scenskog rada koji ga približava kolegama glumcima. Rad na sebi, suradnja i interakcija s kolegama na sceni, odnos s publikom, rad na glazbenom i književnom predlošku s ciljem oblikovanja karaktera lika neki su od elemenata glumačkog umijeća potrebni glazbeniku pjevaču. Teze o glumačkom umijeću moguće je pronaći u cjelokupnoj povijesti teorije izvedbenih umjetnosti. Polazeći od postulata u Aristotelovu traktatu O pjesničkom umijeću, ovaj rad prati razvoj uvida u glumačko umijeće. Aristotel u svom djelu primarno progovara o pjesničkom umijeću, no na nekoliko mjesta moguće je iščitati savjete glumcima u pristupu tekstu i glumačkom umijeću. Nastavljajući se na Aristotela, Diderot otvara nova pitanja i nudi po njemu bitne kvalitete potrebne za unaprjeđenje glumačkog umijeća. Nakon dvaju filozofa rad će se usmjeriti na teoriju glume Konstantina Sergejeviča Stanislavskog i Bertolta Brechta, koji su unijeli velike promjene u glumačkim krugovima devetnaestog i dvadesetog stoljeća. Rad se privodi kraju uvidom u ideje koje je iznio glumac Joseph Chaikin u svojoj knjizi The Presence of the Actor. Sve navedene ideje u sebi sadrže duh svojeg vremena, stoga promatrajući njihov razvoj proizašlih iz pojedinih perioda, može se sumirati sazrijevanje i formiranje glumačkog umijeća zajedno s razvojem filozofskih misli i razvojem kulture čovječanstva.During their education, Vocal Studies students encounter numerous elements that their vocation is comprised of. One part of their education overlaps with the education of other musicians, however, the aspect of the on-stage performance element is what sets them apart from musicians and brings them closer to their other colleagues – actors. Personal development, cooperation and onstage interaction with other colleagues, relationship with the audience, work on the musical and literary text with the goal of forming the character of a role are just some of the elements of the art of acting necessary for becoming an opera singer-actor/performer. Information on the art of acting can be found in the history of the theory of performing arts. 6 Starting with the theses stated in Aristotle’s Poetics, this paper follows the development of insights in the art of acting. Aristotle’s work is primarily focused on poetics, but there are places where one may find advice for actors on how to approach a certain text and acting. Building up on Aristotle’s ideas, Diderot poses new questions and states qualities that are, in his opinion, necessary if one is to become a truly great actor. After some of the ideas of the two great philosophers have been stated, this work turns to the acting methods and approaches proposed by Konstantin Sergeievich Stanislavski and Bertolt Brecht, who have made a major impact in the acting community of the nineteenth and twentieth century. The work is brought to its end by looking into the ideas stated by the actor Joseph Chaikin in his book The Presence of the Actor. Each idea that has been mentioned contains in itself an essence of its period, that is why it is possible to view the maturation and formation of the art of acting alongside the development of philosophical ideas and the development of the culture of humankind