АКТОРСЬКИЙ ТРЕНІНГ У КОНТЕКСТІ ДИСТАНЦІЙНОЇ ОСВІТИ
ACTOR'S TRAINING IN THE CONTEXT OF DISTANCE EDUCATION

Summary/Abstract: The purpose of the article is to identify the features of teaching traditional acting techniques within the framework of new technologies and digital communication using the example of acting training in the context of distance education. Methodology. The topic of the article determined the use of an integrated approach using general scientific and theatrical research methods - this made it possible to determine a set of factors that determine the quality of teaching acting training in conditions of distance education. The method of theoretical study of foreign literature on the research problem has been applied; the method of studying and analyzing pedagogical experience; the method of systems analysis, which contributed to the consideration of online learning in the context of theatrical pedagogy as a kind of integrity in the variety of its internal and external connections; typological method, in order to identify the specifics of teaching acting training in the conditions of distance learning, etc. Scientific novelty. Investigated innovative approaches to teaching actors in the context of the use of new technologies in acting training; analyzed the specificity of cognitive, social and educational presence as key elements in the development and implementation of online education in the context of the peculiarities of teaching the skill of an actor; the features of transformation of acting training exercises, associated with tactile sensations, were revealed; it was stated that in the conditions of distance education in acting training, direct contact (touch of the body) can be mediated by means of vibrotactile quality of the voice. Conclusions. Teaching acting training can take on new forms, provided it is conducted in an online format. The study showed that the structure of theater pedagogy in general and teaching of acting training in particular requires a revision of co-presence as an ontological condition for the transfer of tacit knowledge, which has traditionally been in the epistemological structure of theater pedagogy. The shift in emphasis in teaching an actor from traditional to innovative ways is associated with a broad approach to the decentralization of the preliminary epistemological interpretation of the body as its unique and, accordingly, central direction. The biggest challenge for the teacher of acting in the transition to the online format is that this subject is predominantly group-oriented, based on working in physical spaces.

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