Dainavimo dėstymo dramos aktoriams ypatumai

LTLMA Vaidybos ir režisūros katedroje dainavimo disciplina suvokiama kaip aktoriaus meno išraiškos priemonė. Čia dainuoti mokoma atsižvelgiant į psichofizines studento išgales, kartu lavinama scenos kalba, panaudojama kūno plastika, gilinamasi į žmogaus jutimų, minčių, jausmų pasaulį. Per dainavimo pratybas pradedama suprasti, kad teatro meno esmė - veiksmas, neatitrūkęs nuo minties, kuri valingai ir nuosekliai padeda siekti tikslo. Taikydama daugelį metų tobulintą metodiką, pagrįstą patikima teorija ir praktika, visų pirma stengiuosi kuo tiksliau įžvelgti studento meninės prigimties savitumą, jo psichofizinę struktūrą, ankstesnės patirties sluoksnį. [Iš teksto, p. 301].

ENThe article’s theme is the singing training and some aspects, concerned with this process, which has an influence on an actor’s professional preparation. Here are emphasized not a teaching of a traditional singing techniques, but a great significance of the specific psychological and physical influence upon a young artist. Influence, which highlight’s his artistic origins and develope’s his acting skills. Musicality, rhythm, range and power of voice, sonority... Nothing else but a singing can train an actor to stimulate his inner action with these characteristics so efficiently. Especially solo singing. It is not enough to have only a native musicality and sense of rhythm. There can be no dispute that training of our only instrument - voice, being able to use it, making it sound expressively both in the speaking and in the vocal singing, is an absolute necessity. Namely because of the development of sound, range and power of voice, student has to work hard and systematically. Especially if he is trying to become not only a singing actor, but to train himself with a creative power, and to expand his scale of capabilities. In other case the aim of the singing training would be too narrow as for nature gifted, talented and clever students. Vocal teaching is not only a voice formation. It is a versatile process, which overstep’s limits of digofunctional means.In Lithuanian Academy of Music, department of acting and directing, a discipline of a vocal singing is being perceived exactly so: more widely and constructively - as a means of an actor’s artistic expression. However, the development of an actor’s voice capabilities in our academy is not sufficiently effective. The problem is hidden not in a teaching peculiarities. The problem is in the number of study hours, which is obviously too little. No teaching process will hit it’s target if it is not as much quantitative as qualitative. The quality is the only thing we have. I don’t want to exclude this, system of vocal teaching as the only way, however, on the basis of my own practice, I can affirm it as an effective purposive and being able not only to prepare an actor’s voice for a stage, but also to create an inspired and creative individuality.