Специфіка «Поетичної динаміки» Д. Стейна
Specification of «Poetic Dynamics» by D. Stein

Summary/Abstract: The purpose of the article is to determine the specificity and innovation of "Poetic Dynamics" by D. Stein as a modern system of teaching actors based on the principles of the techniques of "Mime pur" E. Dekru and "Dynamics" by D. Walker. The methodology is based on the principles of objectivity, historicism, multifactor, systemicity, complexity, development and pluralism, and to achieve the goal, the methods of scientific knowledge are used: problem-chronological, concrete historical, statistical, descriptive, logical-analytical. Scientific novelty. For the first time an art critic study of the actor's training system "Poetic Dynamics" was conducted; defined specificity and innovation, the philosophical concept, the theoretical and practical principles of D. Stein, as well as a comparative analysis with the methods of E. Decree and D. Walker. Conclusions. D. Stein's approach to actor's learning, based on the techniques of E. Decro and D. Walker, deviated from pantomime and is fully focused on the art of narrative and actor's skills. D. Stein, not adhering to all the postulates of E. Dekro's ideology, developed the concept of "poetic dynamics", adapting the system of the Decree to a theatrical actor, emphasizing the need for interaction between the physical and metaphysical world, relying on the triad "body of the gymnast" (physical), "reason actor "and" the heart of the poet "(metaphysical). Three rhythms of D. Stein (tempo, dynamic and architectural) provide forms in the design and creation of image and story. Unlike D. Walker, D. Stein uses the term dynamics as a synonym of energy, but with a similar conclusion - changes in the energy effect of perception and stage relations. Repetition and viewing, tension and spatial relationships are the main types of physical and mental interaction between characters on the stage.

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