Actor's Self-Directing

Self-directing actors, playwrights, writers, dancers, composers, musicians, singers, etc.

The subject of actor self-directing emerged from many years of practical studies in the art of acting conducted in the classes and laboratories of the Acting School of Imagery and the Institute of Creativity Methodology. We believe that an actor who has a developed inner director, as one of the inner hypostases, possesses the most valuable treasure that can be at the actor's disposal.

The first important aspect is the actor's ability to effectively manage their instrument of expression, which refers to their capacity to play on it. The Second important aspect is internal dramaturgy, which refers to a conscious, sensitive, and mature attitude toward one's own experience of impressions. The ability to work with impressions requires developing a personal attitude towards them. And the Third, the last thing in order but not in importance, is actually Self-Direction.

We invite you to a master class to get to know this magical subject! During the two classes, we will consider and practically become acquainted with the following topics:

Our own behavioural tasks. Statement and solution. Implementation.

Linear solution. Non-linear solutions.

Difference between an actor's creative and a behavioural task.

Internal interpretation of an external (director's) task.

Drama serves as the foundation for comprehending a creative task.

Theses for discussion:

• Controllability of the actor's behaviour to himself, subjection to impulse. Operational maturity is the ability to take over operational management...to what extent?

• A behavioural problem has a simple linear solution. "Cause and effect" interaction. Mono line. Is it possible without a theatre in everyday life? Is it possible in everyday life but impossible existentially?

• Artistic footprint. Artistic effect. Artistic value. What are they?

• A behavioural task and ...a local here-and-now artistic trace? The Impossible. Examples — sequential narrative. An epos, a story about some events...

• The creative task aims to create an aesthetic impression that the viewer can take away with them. The creative task is not solved in advance but in the moment, here and now.

• In our understanding, the best non-dramatic result—an analogue of literature lyrics—is thoughts and experiences that do not take on a specific form. Pre-imagery thematic improvisation

• A real creative task has a single solution in both space and time.

• Examples of creative tasks. Personal pre-temporal incomprehensibility of the decision — as a characteristic feature of a creative task.

• Various approaches that can be used to solve a creative task. The question and the options. We have to get out of the dominions of the inner actor and inner dramaturge. Only from the position of an inner director is it possible to set and solve a creative task.

• Dramatic creative task. Differences from a simple creative task. Two components. Solution — Image. Maintaining the Image is the key to its integrity and impressive power.

• The art of generating a dramatic creative task for oneself is the highest level of actor's professionalism​

Experimental laboratory study of the "inner director"

Conscious behaviour serves as a solution to behavioural tasks, involves the internal interpretation of external tasks, highlights the artistic value of behavioural decisions, and encompasses creative acting tasks and drama.

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Your Instructor

A practical researcher and creator of the unique education system for actors. The author of the "Versions Theatre" method and the corresponding educational program. Creator of many applied trainings for education, business, art, and life in general. Methodist and acting teacher.