Abstract:

All disciplines that are taught to actors have one common goal – to make the student, the future actor, more expressive, because the main goal of stage art is the influence on the audience, which the actor presents in a theatrical performance. A great role in the education of actors is played by plastic disciplines – the basics of stage movement, juggling, eccentricity, pantomime. The report examines the discipline of «juggling» and its teaching in the conditions of distance learning. There are classic juggling (using specially adapted props – balls, sticks, torches, plates, rings, maces) and eccentric juggling – with household objects or objects that are not intended directly for juggling and are not classic props. At the I. P. Kotlyarevsky National University of Artі at the department of animation theater (in the past – puppet theater), the disciplines of «juggling», «eccentricity», and «pantomime» have been taught since 2000. The first teacher of these disciplines was Ruslan Mykolayovych Nikonenko, who currently works at KMACPA as a senior teacher of the Department of Directing and Acting. After R. M. Nikonenko left Kharkiv University, Anastasiya Igorivna Shevchenko began to teach these disciplines at I. P. Kotlyarevskyi KhNUA. Beautiful concerts and interesting performances were created in the format of regular offline training. However, during the quarantine and nowadays, in the conditions of war, we had to adapt to the current circumstances. It should also be noted that that year the actors of the animation theater joined the actors of the drama theater in studying these circus disciplines. In the first semester, students learn basic exercises – working with one, two and three balls. Balls are the simplest juggling props, and at the same time the most important for mastering and fixing the right posture of the hands, the body, the flight trajectory of the prop, which should reflect a certain clear pattern in the air. All circus disciplines are necessary both for animation theater actors and for drama theater actors. Juggling develops both hemispheres of the brain and the coordination of hand and body movements, promotes the activation of assimilation of new information in other areas of the student’s activity (a well-known experiment – two groups of young people learned to play the piano, but one group also learned to juggle. As a result, the group of «jugglers» quickly mastered the technique of playing a musical instrument). In addition, painstaking «kinesthetic» work with juggling props has therapeutic properties, helps to train the feeling of «I am in my body, here and now» that is important for an actor. This feeling is also important not only for art, but also for life – because it helps to calm down and control one’s emotions and loosen muscle clamps in the body and face. Eccentricity, on the other hand, helps to find non-standard ideas, creative thinking, the use of usual exercises in unusual forms and contexts, and pantomime, in addition to disciplining the body and making it sculpturally expressive, also «raises» the actors to the level of philosophical and allegorical thinking in sketches and performances, teaches in a single gesture to express the most apt, precise thought or feeling, which in the shortest time finds a response in the mind of the viewer. We try to preserve the best that our teachers gave us in traditional exercises, as well as to invent new ones that are created right now, independently by students or together with the teacher. Because now it is the creative process that helps to tune in to Creation, and to do what everyone can do in their own way, here and now, for the sake of Light, Victory and Peace, which have always been paramount in all forms of art.

Keywords: classical and excentric juggling, distance learning for actors, juggling techniques.

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