Actor M. F. Astangov, who struggled for a long time with the role of Grigory Guy in Pogodin’s “My Friend,” was helped by falling in love with that special, high, truly Soviet breed of new people, whom Pogodin’s hero worthily represented. As often happens, the role was difficult. Director A.D. Popov left rehearsals gloomy and dissatisfied. There was no Guy - the owner, the man walking freely and spaciously through life.
The birth of the role was helped by chance. “...Good friends introduced me to an engineer who had just arrived from a large construction site,” Astangov said. – He is dressed in a khaki paramilitary suit and white burkas. When I saw him in this uniform, I almost gasped: this is my Guy’s costume. And what do you think? On the next run, I was already dressed like my new friend, having thickened myself with thickness. The former stiffness began to evaporate, the step became firmer, the gesture became wider, I felt that the necessary strength and confidence had been acquired. “The “master”, the “master” began to appear, which Alexey Dmitrievich had been seeking from me for so long.”
Astangov took with him to the performance a paramilitary suit, white cloaks, and a accent with a soft southern accent. But the main thing is Sergei Ivanovich M. - a major builder, whose biography literally echoed Guy’s biography - a former mechanic, a participant in the civil war, who graduated from the Industrial Academy, traveled to the United States of America, occupied command posts at the most important Soviet construction sites - Sergei Ivanovich M. helped Astangov discover the seed of Guy's role.
At rehearsals, Astangov looked for and practiced the special gait of the hero, who is cramped in the confines of a room, who is accustomed to the uninhabited land of new buildings dug up in trenches and mounds, in stacks of timber, in piles of bricks. Astangov mastered the masterful, swift step and characteristic gesture of the hero - arms thrown above his head, wide open, hugging the air, the earth, and his comrades. Those who saw and heard Guy-Astangov remembered his jubilant exclamation: “I’m alive, my friends, I’m alive!”
They say that a bad actor has a mouth, a better actor has a mouth and eyes. “Nikolai Batalov, in the image of Figaro,” said the wonderful Moscow Art Theater actor M. M. Tarkhanov, “has a heel role!” A half-joking, but very deep and important remark. An actor must be able to do everything. Not only his face, eyes, hands, but also his back, shoulder blades, calves, even ankles should be expressive. He must penetrate the hidden and intimate world of his hero's soul. But he must give spectacular and expressive flesh to the image. Both of these processes - internal comprehension and external realization of the image - are inseparable, interconnected, mutually necessary for each other. It doesn't matter in what order they happen. Often - at the same time. But only in their agreement and balance is the sought-after harmony of the image achieved. Both the actor and the director struggle with this task during rehearsals. There is an obligatory concept of “character actor,” that is, a master who creates a unique and unique character on stage, with equal ability for external and internal transformation. Stanislavski was a great character actor. To be convinced of this, we, who have never seen him on stage, should look at photographs of Stanislavsky from different years.
Here are the lordly and weak hands of old Gaev, who throughout his life have learned only to hold a billiard cue and send the ball into the pocket. Here is the energetically closed, dry hand of Dr. Shtokman - a worker, a rebel, a defender of the truth, tense fingers directed towards the interlocutor, in the characteristic of the gesture there is a frozen moment of polemic, disagreement, perseverance, the strength of one’s own conviction. Here is the inspired, beautiful profile of Chekhov's Astrov, the proud posture of his dark-haired head, the freedom and artistry of his pose.
Here is the puffy, sideburned face of the Moscow master Famusov, with a capricious, satiated grimace. The ruinous appearance, mossiness, and dilapidation of General Krutitsky; oversaturated with stupidity, swollen from idleness, with sagging cheeks, in a funny woman’s headband, in tufts of sparse hair, the physiognomy of Moliere’s “imaginary patient.” Here, freely stretched out on the bunks of the shelter, picturesque and in rags, is Gorky’s former “handsome man” Satin...
Coordinates: 37°13′23″ N. w. 38°55′20″ E. d. / 37.223056° n. w. 38.922222° E. d. ... Wikipedia
Coordinates: 37°13′23″ N. w. 38°55′20″ E. d. / 37.223056° n. w. 38.922222° E. d. ... Wikipedia
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Separately, unmerged, lonely, alone, one by one, superficially, visit by visit, lesson by piece, separately, separately, individually, separately, separately, apart, apart, scattered, scattered, scattered, scattered, at retail; drinking; oases,... ... Synonym dictionary
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At left, American players McMillen No. 13 and Henderson No. 6 begin their victory celebrations prematurely. Right: Alexander Belov No. 14 puts the winning ball into the basket for the USSR national team. James Forbes No. 10 lies on the floor.... ... Wikipedia
Lak-Dargin languages- Lak-Dargin languages are a subgroup of Nakh-Dagestan languages. On L.D. I. say the Dargins and Laks living in mountainous Dagestan, as well as the Dargins living on the plain in the villages of Kostek (Khasavyurt district) and Gerga (Kayakent region), part of the Laks... Linguistic encyclopedic dictionary
GOSPEL. PART II- The language of the Gospels The problem of New Testament Greek The original texts of the NT that have come down to us were written in ancient Greek. language (see Art. Greek); existing versions in other languages are translations from Greek (or from other translations; about translations ... ... Orthodox Encyclopedia
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- Tricky game, Alves Katya, Fraulein Adele behaves very suspiciously. This is extremely uncharacteristic of her. She completely stopped going to the general gathering of the Super Secret Gang of Fluffies and is constantly in a hurry to get somewhere. Maybe… Category: Fairy tales by foreign writers Series: Publisher: Willie Winky Editorial,
- Tricky game, Katya Alves, Marta Valmaseda, Editorial team "Willy Winky" presents! Fraulein Adele is behaving very suspiciously. This is extremely uncharacteristic of her. She completely stopped attending the general gathering of the Super Secret Gang of Fluffies and... Category: For children Series: Super Secret Fuzzy Gang Publisher: PUBLISHING HOUSE AST, Manufacturer:
A distinction was made between actors who played character and semi-character ( demi-caractère) roles in comedies, petty-bourgeois dramas and melodramas (Tragedy required a sublimely abstract, non-domestic manner of acting). The development of realistic trends in the European theater of the 19th century led to the need to put any character in connection with the environment, era, and social life. Actors, striving for artistic truth, looked for social, historical, and everyday characteristics in all the types they portrayed. Among the largest Russian character actors of the late 18th - early 19th centuries, one should highlight A. M. Krutitsky, S. N. Sandunov, A. E. Ponomarev, A. A. Pomerantseva and others. M. S. Shchepkin is typical in the tragic role of the Baron (“The Miserly Knight” by A. S. Pushkin), V. V. Samoilov - in the role of King Lear. L.P. Nikulina-Kositskaya - in the role of Katerina (“The Thunderstorm”). In all these cases, the characteristic was not only external, but also internal: it colored the psychology of the character, his aspirations and feelings. A. E. Martynov in the “characteristic” role of Tikhon (“The Thunderstorm”) and P. M. Sadovsky in the role of Lyubim Tortsov (“Poverty is not a vice”) and others went beyond this role and deepened their play to a tragic sound. Realism, in fact, eliminated this role, and in this sense, K. S. Stanislavsky said that character must be present in every image, including the hero and lover. In modern theater, the concept character actor It is often used only to emphasize the dominant feature of the actor’s creative individuality.
In cinema
American film critics often note that character actors Always are minor characters. Professor Ira Koenigsberg defines a character actor in the Complete Dictionary of Cinematography: “A character actor is an artist who specializes in supporting roles with a strong and often humorous content.” As noted by the famous American film critic David Thomson, a character actor can play any role in a film, with the exception of the main one. The range of such roles for a character actor, according to Thomson, begins with the roles of the main characters (who are not the decisive, key characters) and ends with roles a la “appeared in the frame and immediately fell dead” (in American film criticism, such characters are usually called “ Red Shirts").
Character actor career
Theater and film critic Michael Anderegg notes the difference between a character actor and a film or television star, which is that an actor embodies a role, while a star embodies myself in one role or another.
There are several reasons why many actors choose character roles. It is much easier to audition for a supporting role than to get a leading role in a film or TV series. Most films have only one to three main characters, and there are usually more supporting characters. Also important type actor, according to which he gets the role: actors Dennis Hopper and Steve Buscemi achieved fame playing a lot of villain roles in films, and Jane Lynch, Melissa McCarthy, Lisa Kudrow and Cloris Leachman became known for their roles of eccentric women.
The Path to Leading Roles
Some actors who started out playing character roles eventually achieved fame in leading roles. These include Kathy Bates, who played her first leading role in 1990 in the film “Misery” and after that received a couple more leading roles, and also returned to the status of an episode actress. Whoopi Goldberg, Fran Drescher, Angela Lansbury, Heath Ledger, Felicity Huffman, David Carradine, Sean Connery, Lesley-Anne Down, Christopher Lloyd, William H. Macy, Meryl Streep, Donald Sutherland, Jodie Foster, Dana Delaney, Maggie Smith, Tim Roth, Laurence Olivier also, in different years, after character roles, achieved success playing leading roles.
see also
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Notes
- Character actor // Theater Encyclopedia / Ch. ed. P. A. Markov. - M.: State. scientific publishing house "Sov. Encyclopedia", 1967. - T. 5. - P. 579.
- Litosova M.K. Professional speech of an actor and director: terminological and non-terminological phrases: a textbook for students of theater universities. - M.:, 1989. - P. 99. - 208 p.
- Romanovsky I. I. Character actor // Mass media: dictionary of terms and concepts. - M.: Union of Journalists of Russia, 2004. - P. 400. - 477 p. - ISBN 5-8982-3050-5.
- Dubrovskaya O. N. Character actor // . - M.: OLMA-PRESS Education, 2002. - P. 290. - 320 p. - 5 thousand, copies.
- - ISBN 5-94849-106-4. Chisholm, Hugh.
- Character actor // The Encyclopaedia Britannica: a dictionary of arts, sciences, literature and general information (English). - 11th edition. - N.Y.: Encyclopaedia Britannica, 1910. - Vol. V. - P. 856. Character actor // The Complete Film Dictionary (English). - 2nd Ed. - N.Y.: Penguin Reference, 1997. - 469 p. - ISBN 0-670-10009-9.
- Arnheim, Rudolf. In Praise of Character Actors // / Edited by Pamela Robertson Wojcik. - N. Y.: Routledge, 2004. - P. 205. - 240 p. - (In focus). - ISBN 0-415-31024-5.
- Stein, Ben (April 8, 1996). "". New York Magazine(New York Media, LLC) 29 (14): 44. ISSN.
- Anderegg, Michael. Cameos, Guest Stars and Real People // / Edited by Laurence Goldstein, Ira Konigsberg. - Ann Arbor: University of Michigan Press, 1996. - P. 155. - 338 p. - ISBN 0-472-06640-4.
Excerpt describing Character Actor
“Vasily Denisov, a friend of your son,” he said, introducing himself to the count, who was looking at him questioningly.- Welcome. I know, I know,” said the count, kissing and hugging Denisov. - Nikolushka wrote... Natasha, Vera, here he is Denisov.
The same happy, enthusiastic faces turned to the shaggy figure of Denisov and surrounded him.
- Darling, Denisov! - Natasha squealed, not remembering herself with delight, jumped up to him, hugged and kissed him. Everyone was embarrassed by Natasha's action. Denisov also blushed, but smiled and took Natasha’s hand and kissed it.
Denisov was taken to the room prepared for him, and the Rostovs all gathered in the sofa near Nikolushka.
The old countess, without letting go of his hand, which she kissed every minute, sat next to him; the rest, crowding around them, caught his every movement, word, glance, and did not take their rapturously loving eyes off him. The brother and sisters argued and grabbed each other's places closer to him, and fought over who should bring him tea, a scarf, a pipe.
Rostov was very happy with the love that was shown to him; but the first minute of his meeting was so blissful that his present happiness seemed not enough to him, and he kept waiting for something else, and more, and more.
The next morning, the visitors slept from the road until 10 o'clock.
In the previous room there were scattered sabers, bags, tanks, open suitcases, and dirty boots. The cleaned two pairs with spurs had just been placed against the wall. Servants brought washbasins, hot water for shaving, and cleaned dresses. It smelled of tobacco and men.
- Hey, G"ishka, t"ubku! – Vaska Denisov’s hoarse voice shouted. - Rostov, get up!
Rostov, rubbing his drooping eyes, raised his confused head from the hot pillow.
- Why is it late? “It’s late, it’s 10 o’clock,” Natasha’s voice answered, and in the next room the rustling of starched dresses, the whispering and laughter of girls’ voices was heard, and something blue, ribbons, black hair and cheerful faces flashed through the slightly open door. It was Natasha with Sonya and Petya, who came to see if he was up.
- Nikolenka, get up! – Natasha’s voice was heard again at the door.
- Now!
At this time, Petya, in the first room, saw and grabbed the sabers, and experiencing the delight that boys experience at the sight of a warlike older brother, and forgetting that it was indecent for sisters to see undressed men, opened the door.
- Is this your saber? - he shouted. The girls jumped back. Denisov, with frightened eyes, hid his furry legs in a blanket, looking back at his comrade for help. The door let Petya through and closed again. Laughter was heard from behind the door.
“Nikolenka, come out in your dressing gown,” said Natasha’s voice.
- Is this your saber? - Petya asked, - or is it yours? - He addressed the mustachioed, black Denisov with obsequious respect.
Rostov hastily put on his shoes, put on his robe and went out. Natasha put on one boot with a spur and climbed into the other. Sonya was spinning and was just about to puff up her dress and sit down when he came out. Both were wearing the same brand new blue dresses - fresh, rosy, cheerful. Sonya ran away, and Natasha, taking her brother by the arm, led him to the sofa, and they began to talk. They did not have time to ask each other and answer questions about thousands of little things that could only interest them alone. Natasha laughed at every word that he said and that she said, not because what they said was funny, but because she was having fun and was unable to contain her joy, which was expressed by laughter.
- Oh, how good, great! – she condemned everything. Rostov felt how, under the influence of the hot rays of love, for the first time in a year and a half, that childish smile blossomed on his soul and face, which he had never smiled since he left home.
“No, listen,” she said, “are you completely a man now?” I'm terribly glad that you are my brother. “She touched his mustache. - I want to know what kind of men you are? Are they like us? No?
- Why did Sonya run away? - Rostov asked.
- Yes. That's another whole story! How will you talk to Sonya? You or you?
“As it will happen,” said Rostov.
– Tell her, please, I’ll tell you later.
- So what?
- Well, I’ll tell you now. You know that Sonya is my friend, such a friend that I would burn my hand for her. Look at this. - She rolled up her muslin sleeve and showed a red mark on her long, thin and delicate arm under the shoulder, much above the elbow (in a place that is sometimes covered by ball gowns).
“I burned this to prove my love to her.” I just lit the ruler on fire and pressed it down.
Sitting in his former classroom, on the sofa with cushions on his arms, and looking into those desperately animated eyes of Natasha, Rostov again entered that family, children's world, which had no meaning for anyone except for him, but which gave him some of the best pleasures in life; and burning his hand with a ruler to show love did not seem useless to him: he understood and was not surprised by it.
- So what? only? - he asked.
- Well, so friendly, so friendly! Is this nonsense - with a ruler; but we are forever friends. She will love anyone, forever; but I don’t understand this, I’ll forget now.
- Well, what then?
- Yes, that’s how she loves me and you. - Natasha suddenly blushed, - well, you remember, before leaving... So she says that you forget all this... She said: I will always love him, and let him be free. It’s true that this is excellent, noble! - Yes Yes? very noble? Yes? - Natasha asked so seriously and excitedly that it was clear that what she was saying now, she had previously said with tears.
Rostov thought about it.
“I don’t take back my word on anything,” he said. - And then, Sonya is such a charm that what fool would refuse his happiness?
“No, no,” Natasha screamed. “We’ve already talked about this with her.” We knew you would say this. But this is impossible, because, you know, if you say that - you consider yourself bound by the word, then it turns out that she seemed to say it on purpose. It turns out that you are still forcibly marrying her, and it turns out completely different.
Rostov saw that all this was well thought out by them. Sonya amazed him with her beauty yesterday too. Today, having caught a glimpse of her, she seemed even better to him. She was a lovely 16-year-old girl, obviously loving him passionately (he did not doubt this for a minute). Why shouldn’t he love her now, and not even marry her, Rostov thought, but now there are so many other joys and activities! “Yes, they came up with this perfectly,” he thought, “we must remain free.”
“Well, great,” he said, “we’ll talk later.” Oh, how glad I am for you! - he added.
- Well, why didn’t you cheat on Boris? - asked the brother.
- This is nonsense! – Natasha shouted laughing. “I don’t think about him or anyone else and I don’t want to know.”
- That's how it is! So what are you doing?
- I? – Natasha asked again, and a happy smile lit up her face. -Have you seen Duport?
- No.
– Have you seen the famous Duport the dancer? Well, you won't understand. That's what I am. – Natasha took her skirt, rounding her arms, as they dance, ran a few steps, turned over, made an entreche, kicked her leg against the leg and, standing on the very tips of her socks, walked a few steps.
- Am I standing? after all, she said; but she couldn’t help herself on her tiptoes. - So that’s what I am! I will never marry anyone, but will become a dancer. But do not tell anyone.
The essence of the term is more succinctly defined by the Encyclopedia Britannica, according to which a character actor is an actor who plays prominent roles.
From the history of theater
In cinema
American film critics often note that character actors Always are minor characters. Professor Ira Koenigsberg defines a character actor in the Complete Dictionary of Cinematography: “A character actor is an artist who specializes in supporting roles with a strong and often humorous content.” As noted by the famous American film critic David Thomson, a character actor can play any role in a film, with the exception of the main one. The range of such roles for a character actor, according to Thomson, begins with the roles of the main characters (who are not the decisive, key characters) and ends with roles a la “appeared in the frame and immediately fell dead” (in American film criticism, such characters are usually called “ Red Shirts").
Character actor career
Theater and film critic Michael Anderegg notes the difference between a character actor and a film or television star, which is that an actor embodies a role, while a star embodies myself in one role or another.
There are several reasons why many actors choose character roles. It is much easier to audition for a supporting role than to get a leading role in a film or TV series. Most films have only one to three main characters, and there are usually more supporting characters. Also important type actor, according to which he gets the role: actors Dennis Hopper and Steve Buscemi achieved fame playing a lot of villain roles in films, and Jane Lynch, Melissa McCarthy, Lisa Kudrow and Cloris Leachman became known for their roles of eccentric women.
The Path to Leading Roles
Some actors who started out playing character roles eventually achieved fame in leading roles. These include Kathy Bates, who played her first leading role in 1990 in the film “Misery” and after that received a couple more leading roles, and also returned to the status of an episode actress. Whoopi Goldberg, Fran Drescher, Angela Lansbury, Heath Ledger, Felicity Huffman, David Carradine, Sean Connery, Lesley-Anne Down, Christopher Lloyd, William H. Macy, Meryl Streep, Donald Sutherland, Jodie Foster, Dana Delaney, Maggie Smith, Tim Roth, Laurence Olivier also, in different years, after character roles, achieved success playing leading roles.
see also
Notes
- Character Actor// Theater Encyclopedia / Ch. ed. P. A. Markov. - M.: State. scientific publishing house "Sov. Encyclopedia", 1967. - T. 5. - P. 579.
- Litosova M.K. Professional speech of an actor and director: terminological and non-terminological phrases: a textbook for students of theater universities. - M.: , 1989. - P. 99. - 208 p.
- Romanovsky I. I. Character Actor// Mass media: dictionary of terms and concepts. - M.: Union of Journalists of Russia, 2004. - P. 400. - 477 p. - ISBN 5-8982-3050-5.
- Dubrovskaya O. N. Character Actor// Theater: Encyclopedia. - M.: OLMA-PRESS Education, 2002. - P. 290. - 320 p. - 5 thousand, copies.
