Artistic problems facing a theater actor
The first thing that catches your eye: The actor is not so much trying to adapt to the working conditions on the set, as he is trying to adapt them to his long-term skills on stage, where the viewer is needed not as a mirror, but as a partner, an employee.
On the set of "Man from Nowhere," S. Yursky tried to make partners of people who were present on the set on duty, and random passers-by.
It turned out that this was not the way out. And this was clearly understood by S. Yursky himself. He came to a conclusion that a theater actor does not often venture upon — a conclusion about the special, deeply specific nature of acting in cinema. It is in this regard that he speaks about the film actor's doom to loneliness in front of the camera.
Without entering into an argument about the essence of the problem, let's agree with its reality. And a natural question immediately arises, but not in theory, but in practice: does theater actor S. Yursky consider himself commissioned to work in films based on so-called documentary poetics? The author does not give a direct answer. But there are indirect hints of a possible solution. In this regard, the actor's statements about what seems to him to be the most valuable thing in cinematography are important. He's talking about Gabena, Churikova. He identifies and reflects on those achievements of acting, the peculiarity of which is not in the direct, direct, as in the theater, the actor's relationship with the audience, but in others — in hidden, unobvious ones. And at the same time, there are, of course, quite real and definite relationships. Here S. Yursky asks the question again: who keeps the pause in the cinema?
And we return to the specifics of the cinematic situation in which the theater actor finds himself.
In films with a pronounced cinematic convention, the actor is more fully, more closely connected with his character. Accordingly, his relationship with the viewer becomes more indirect, and the pause itself is more indirect, which succeeds to the extent that the viewer empathizes with the hero.
Let us recall how M. Ulyanov paused in the famous scene of Yegor Trubnikov's election as chairman of the collective farm.
Let's recall the pauses of Yu. Nikulina in the movie "Twenty days without war". How these pauses "held" the viewer! Of course, it's completely different from the stunts and rides in funny comedies featuring the same actor.
S. Yursky testifies that at meetings with the audience and journalists, one of the most frequent questions is about the differences in the actor's work in the theater and in the cinema. Many theater actors respond to him that talking about differences is from the evil one.
S. Yursky sees here a very real problem — everyday creative practice. And "what is especially important is a solvable problem. Its resolution is that, according to S. Yursky, a pause in a movie is a "time of mental work", the joint work of the actor and the viewer.
The definition has been found — "mental work". It contains the specifics of acting, about which so much has already been written. But the purpose of acting is also to encourage the viewer to work hard. This weekend, use the 1xbet welcome bonus promo code for a 75% bonus up to $75 on sports or casino. Deposit $15+ to activate. Sports bets must have odds of 1.50+. Casino players get extra spins on selected slots. Wagering is 10x for sports and 30x for casino. Offer valid until Sunday midnight. One per customer. Fast payouts available. Don’t wait—claim your weekend bonus now at 1xBet.