Розуміння поняття підтексту у праці "Художнє слово на сцені" Р. Черкашина
Understanding the concept of subtext at work "Artistic expression on stage" by Roman Cherkashin

Summary/Abstract: The article reveals the essence of the concept of "subtext" of Stanislavsky by famous Ukrainian theater teacher Roman Cherkashin in its manual "Artistic expression on stage". Duality of the Cherkashin’s understanding of this phenomenon is indicated. The author approached guide to the interpretation of subtext as hidden content. We pose the problem of understanding the concepts of "literary subtext" and "stage subtext". Among the Ukrainian theater theorists concept of "implication" saw M. Karasev, in his book "Stanislavsky and stage speech" (the "Illustrated subtext – the basic premise of converting text on the role of verbal action") and R. Cherkashin at work "artistic expression on stage" ( the "Text and subtext"). Both Ukrainian authors followed the teachings of Stanislavsky and considered the implication from the perspective of the founder of theater pedagogy. For Cherkashyn, subtext (internal psychological) – subtext vision shaped the imagination. Contractor literary text for a live verbal action required: tie words of the text with their imaginative visions of imagination, bringing awareness of their inner meaning, which will further "music language" (intonation) and heard it to the listener. The inner meaning of the words – subtext – is a combination of (communication by Cherkashyn) text of his vision shaped by imagination. This is what is meant by "inner meaning" of words both theorist, then when our time is treated only as subtext hidden inner meaning of words, where "domestic content" is not figurative and emotional idea, vision, and effective, meaningful semantic expression Essentially purpose word, its hidden meaning or direct opposite meaning. In this case Cherkashin says the same "illustrated subtext" Stanislavsky. He, like Stanislavsky, the subtext is in the stage of awareness, decoding, interpretation of the word, i.e. the phase of work on short, text role. Cherkashyn confirms this: "The inner psychological meaning wider implication content vocabulary words and phrases. Unraveling feel and identify according to the text of the artwork inside its subtext – the main creative task of the actor and director." on the interpretation of theatrical subtext still not conscious and not resolved the apparent contradiction that appears following questions (direct answer to which we are still nowhere and no one found): "Yet what is the subtext?". Is it 1) is that under the text ("internal installation", the meaning of words and our attitude, our experiences, visions, everything we decipher and realize on the text, all the text evokes in our minds before their deliverance ) or 2) tone, expression that sounds? Finally, to understand this and to clarify the understanding of the concept of theatrical subtext is the main objective of our study. We see no apparent awareness of existing differences between literary overtones (overtones literary texts designed for reading and understanding when the words expressed by letters, carry information, plot) and subtext theater, stage, performing (text-cues for speech, hearing, verbal sound effect, their emotional and semantic expression). In our understanding of theatrical overtones – it is the tone, sound, "the true sounds of language." It seems appropriate to anything that is "under the text" continue to call overtones and sound, word-effective, semantic, meaningful expression of the essence of destination should be given to his words, the updated term – subtext-tone. Thus, the subtext – the essence of the text, decoded, found mentally conscious sense opinions. A subtext, tone-intonation opinion expressed by the statements. The implication is always a tone for the audience and the skill of the musician is in a report by subtext subtext-tone listener. The resulting text vision, understanding and experiences are treated as subtext. But here inconsistency "subjective experience of reality is further manifested in the psychological implications of linguistic action." First, our attitude (subjective experience of reality) is not an additional manifestation and straight. Secondly, since implication of linguistic action, then, respectively, he already sounds (verbal action overtones). And the implication that sounds, that's subtext-tone. Emotional attitude is a direct implication nature, not its essential properties. Our emotional attitude dictates the tone of the character, is a subtext-tone. We must talk about the correct, exact expression of our emotional state (subtext-through action), and in any case not the intonation. You cannot appeal to the ephemeral tone, because you cannot define, describe, mark (as in music notes) – it can only "voice", play, repeat, never – to fix once and for all by certain laws, requirements, regulations. (Do not take into account the rules of logical intonation, it is a so-called performing, artistic intonation.). Intonation mainly conducts search prettiness words, whereas the most important is its emotional content of education effectiveness. So intonation – is someone correctly interpreting, fixation, and subsequently playing it is just copying.

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