Universalios aktorių rengimo sistemos paieškos: Vsevolodo Mejerholdo ir Tadashi Suzuki pedagoginiai keliai

LTXXI a. egzistuoja daugybė vaidybos sistemų, tačiau nė viena jų nelaikoma universalia. Linkstama tapatinti sistemas su konkrečiomis teatro stilistikomis užkertant kelią aktoriams išbandyti įvairius pasirengimo profesijai metodus. Klaidingai interpretuojant daugelį aktorių rengimo metodų teigiama, kad kiekvienas jų ugdo išimtinai psichologinį arba fizinį pasirengimą. Siekiant įrodyti, jog egzistuoja universalūs reikalavimai profesionaliems aktoriams, nepriklausomai nuo jų rasės, tautybės, lyties bei kultūrinių ar politinių sąlygų, pasitelkiamas Vsevolodo Mejerholdo biomechanikos ir Tadashi Suzuki metodo palyginimas. RAKTAŽODŽIAI: vaidybos sistemos, vaidybos metodai, biomechanika, Suzuki metodas, aktorius, kompleksiškumas, psichofizika.

ENTheatre theorists and practitioners usually believe that most of the 21st century’s acting systems include either physical or psychological preparation but never both. It results in a misconcepti on that versatile acting systems do not exist despite the fact that some of the well-known acting systems already encompass both mental and physical preparation. What this means is that these systems can be adopted by any actors working in various styles of theatre in any country and any culture. Even the Stanislavski System can be considered versatile despite the fact that in many countries his ideas are known as fit for psychological theatre only. In order to prove that acting systems should not prepare actors for a certain kind of theatre but rather develop such abilities as uniting body and mind, dealing with inner and outer difficulties, a comparison of Biomecha nics, created by a Russian director Vsevolod Meyerhold, and the Suzuki method, developed by a Japanese director Tadashi Suzuki, is applied. These methods are based on a complex view on actor training and look back at the human nature and actor work with himself without any imposed rules on how to create a character. By comparing the methods, we seek to prove that the human nature is the same in any part of the world; therefore, versatile actor training methods could exist and be applied. KEY WORDS: acting systems, acting methods, Biomechanics, Suzuki method, actor, complexity, psycho-physic.