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Section 3. Theater art
https://doi.org/10.29013/EJA-19-3-63-65
Boltaboeva U Usmonov Sh Rahmonova N Fergana regional branch of Uzbekistan state institute of art and culture E-mail: boltaboyeva.umidaxon@mail.ru
CREATIVE PERSON - THE ROLE OF LIVE WORD IN EDUCATING AN ACTOR
Abstract. This article focuses on the power of the word in the scene, its magic, its role on the scene, and its peculiarities. The item also studies the methods of using the words by actors produced by the playwright.
Keywords: Actor, playwright, director, dialect, pronunciation.
"The glory of the word pearl is so great that nothing more precious can be found. Even for four pearls of the world - the water, the air, the earth, and the fireand for stars in the sky the word is the frame."
As the word's value and function on the scene are multiplied more than once in life, and the importance of conveying it clearly and naturally to the viewer increases, the educator should be able to approach the word as to "the artery of the performing arts". The scenic word is unique in that it has profound meaningful action. It requires a comprehensive study of the meaning, content and tone of the actor, and continuous training in the direction of the various points of influence - mind, imagination, emotion.
The word on a paper comes alive when it is executed and read with beautiful pronunciation. The effect of a word on a paper can vary dramatically, depending on the skill of the performer. The execution (pronunciation) of the word is particularly important on the scene. As for Shakespeare's "Othello"
tragedy, there is a scene when Othello shouts to Des-demona "Kerchief!", "Kerchief!" This scene was performed by different actors from around the world. Some have voiced violence, some have implored, others have tragic tones. Based on this, it is possible to say that in each performance, each actor has his or her own unique vision and understanding. It is obvious that the promoters of the speech culture are primarily actors. The actors sing the hopes and feelings of our people through the images they create. At the same time, they are encouraged to do good things and to learn to distinguish right from wrong. That is why speech and live speech are the most important issues.
The state of stage speech in modern performances currently being shown in theaters of our country requires special research. Because the level of speech of the actors is not so good. The weirdness of actors' speech, the use of vocabulary, the disrespect of the word, the use of irrelevant phrases are offensive to
Section 3. Theater art
many viewers. The great actors and actresses that have come to the attention of our people can serve as an example for young people. The great task of our theater leaders and creators is to continue the creative work of our great actors and directors, who have brought the Uzbek language and the culture of the speech to a higher level, even under difficult circumstances. The clear, fluent, expressive and vocal pronunciation of the actor, director and vocalists play an important role in conveying the main idea of the plays that are being shown in our theaters. It is no secret that lately the issue of stage speech has been overlooked by both directors and theater critics, and superficial criticisms have been made in the process of discussing performances. Actors' actions, motions and speech are crucial in creating scenes and animating events. The more effective the word, the easier it will be to achieve its intended purpose. The language of the playwright certainly plays an important role in this. At the same time, the skill and collaboration of the actor and the director in the theater are very important. These ideas are based on the expertise of the experts over the years.
Each of us should have a worthy contribution to the development of the Uzbek language. We must remember that the power of our speech depends on the choice of words, where, how, and in what way we use it. This is especially true of theater actors, teachers and students, television and radio broadcasters, people of all cultures and backgrounds, and it is both a debt and a duty to master it carefully. Every language master must take responsibility for what he or she is saying, especially knowing where and how to use words with two or more meanings. From TV and radio speakers, to actors and actresses in theaters and cinemas, everyone should use the resources of the Uzbek literary language appropriately and effectively. We need to be vigilant with unnecessary pronunciations and accents. For example; Is it too ugly for the TV or radio to use the phrase "lifting the dead" instead of saying "carry the body"? How can it be if we don't distinguish the difference between the
actor and the artist, and the difference between the student and the pupil? Generally speaking, a lecturer in public, a fluent and eloquent speaker, must not speak the dialect; it has always been a requirement of the time. It is disrespectful and dishonorable to the Uzbek literary language to speak publicly offensive speeches. Overcoming these deficiencies puts a great responsibility not only on educators but also on all adults. After all, it is important for us to instill in our children the interests of our country and our sacred values, to educate them and help them to become highly educated and knowledgeable people.
Uzbek language is the glory of the Uzbek nation, and respect of it must be shared by all from adults to children. We must learn to love and respect the Uzbek language from parents at home, nurses in kindergartens, teachers in educational institutions, and professors and teachers at universities. In the book of the First President of the Republic of Uzbekistan Islam Karimov "High spirituality is an invincible force" said: "It is known that self-awareness, the expression of national consciousness and thinking, the spiritual connection between generations is expressed through language. All the good qualities are absorbed in the human heart with the unique beauty of the mother and the mother tongue. Mother tongue is the spirit of the nation". (1.83 - b).
Art and culture pedagogy has its own peculiarities that are totally different from other areas. Great scholars teach that in every field, every word must be a "performance" that has the moral and aesthetic perfection.
The actor and the director seem to be the translator as they recreate the existing dramatic work. This is probably why translation is called art of reproduction. Thus, if the actor is not vigilant in the pronunciation of each word, the meaning given by the word itself may also reveal a different meaning depending on the actor's pronunciation. For example, when you say "thank you", the positive and negative meanings depend on the pronunciation and tone of the actor. Whether the word comes from the actor's language,
he or she must become an artistic figure on the stage, otherwise it should not be said. Because the language of the scene wants vibrancy, shortness and stamina. The words or phrases conveyed to the audience on the stage must conform to the norms of the Uzbek literary language, and the actor who creates the character must act in accordance with the rules of the Uzbek language when speaking in the language of his hero. There is a lot to say in the voice and tone of an actor who transmits every word or combination of words from the stage to the audience. It all depends on the skill of the actor. Whether the actor is crying while playing the role, the audience should also cry, whether he laughs or the audience laugh. It should come about by itself, not by force. Only then does the combination of the director and the actor appear.
The voice of the actor on the stage should not always be the same. When he feels annoyed, now the tone is moderate and then laughs, and now the tone should be completely different. It is inconceivable for the actor to say the words written by the playwright in his own way. It all depends on the skill and experience of the actor, that is, his skill. The theater is also a place where careful approach is needed. It is just a place where you must enter and speak with a pure heart.
The art of the word always reflects the spirit, pain and problems of its time, and has always been a great asset to the processes of universal development. The
diversity of the imaginative world of the young artist is connected with his awareness of fiction and art. One of the key factors of being a creative person is to be aware of the masterpieces of our literary literature, to study the best works of fine art, music, theater and cinema, television. Every teacher who has a creative experience in the word arts should be careful about the process of selecting a literary text.
Every pronunciation of every word and every phrase is of course appealing to the listener; Our great ancestor Alisher Navoi, in describing the words, said: "The glory of the word pearl is so great that nothing precious like pearls can be unseen. The pearl of water, air, earth and fire, and the glory of the stars in the sky is a word " And the glory of the word can be attributed to the holder of the highe.
We need to prepare students from the first stage to fully understand the value and importance of the word. All of the first-ever creative technical exercises are designed to provide students with freedom, aspiration, imagination, performance, and naturalness, which will help them to understand the word on the stage, to use the word properly, and how to communicate.
To conclude, all artists who are engaged in live performance in theatrical art should thoroughly study the components of the "Speech", in particular the entire analytical process of text processing. Only then will we reach our goal.
References:
1. Nosirova A. Live word art.- Tashkent. Music, 2009.
2. Alieva N. My life in art.- Tashkent. 1978.
3. Pulatov I. The stage speech.- Tashkent. 1994.
4. Djumanov I. Artistic vocabulary.- Tashkent. Abu Press Press, 2015. st skill.
