СЦЕНІЧНІ ПРИЙОМИ «ПІДТЕКСТ» ТА «АПАРТ» В СЛОВЕСНІЙ ДІЇ АКТОРА
STAGE TECHNIQUES "SUBTEXT" AND "APARTЕ" IN THE VERBAL ACTION OF THE ACTOR

Summary/Abstract: Purpose of Article. To find out the peculiarities of understanding and interpretation of the techniques "subtext" and "apart"; in the stage speech of the actor; prove the features and commonalities between the two techniques. Methodology: analytical – to study the existing theoretical interpretations of the subtext and apparatus and their practical application; comparative – in the comparison and comparative analysis of theoretical and practical interpretations and applications of the techniques of "subtext" and "apart"; logical-generalizing – to summarize the results of the study, to formulate conclusions. Scientific novelty. Work is to prove that the subtext, as a method of expression of true thoughts, feelings, and intentions of the protagonist – is always present in the text. In the case of direct text – the subtext is open and is a thorough verbal action of the actor. In the case of non-direct text – the subtext is hidden and is an expression of foreign content, the meaning of the statement. For the first time, the commonalities and peculiarities of stage techniques "subtext", "apart" and the essence of the comedy of the situation at apart are considered and proved. Conclusions. It was found that K. Stanislavsky and the followers of his teachings interpret the subtext (illustrated subtext) as the inner life of the role, psychological baggage, the emotional and volitional beginning of stage speech, which justifies the utterance of the text. The commonalities and peculiarities of the stage techniques "subtext" and "apart" in the verbal action of the actor and the essence of the comedy of the reception "aparte" are considered and proved.

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