Revista

de la

Universidad

del Zulia

Fundada en 1947

por el Dr. Jesús Enrique Lossada

DEPÓSITO LEGAL ZU2020000153

Esta publicación científica en formato digital

es continuidad de la revista impresa

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E-ISSN 2665-0428

Ciencias

Sociales

y Arte

Año 14 N° 41

Septiembre - Diciembre 2023

Tercera Época

Maracaibo-Venezuela

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Methodology of Modern Theatrical Art in the Formation of an Actor’s

Emotional Nature and Peculiarities of His or Her Stage Perception

Tatiana V. Portnova*

ABSTRACT

In the majority of Russian cities a theater, a cultural space, which has taken the close

attention of the wide audience in recent years, is located not far from the central square or

directly on it. Theater can be attractive for people’s leisure activities, take central or

peripheral position in the cultural life of a city, give successful and not quite successful

performances, but it will definitely remain the place whose life is rather little known about.

In this article the author tries to scientifically analyze and critically conceptualize the

problematics of the methodology of modern theatrical art in the formation of an actor’s

emotional nature and peculiarities of his or her stage perception. The aim of this research is

to reveal and analyze the essence of an actor’s emotional nature conjugated into the modern

epoch with the performative practices influencing the condition of traditional theater and

personal status of an actor. The methodology of the research includes a systematic

approach and a method of comparative analysis applied to the actor's nature of the artist,

which developed by the XX century, which has now covered other professional spheres of a

person, thus changing the value orientations of the actor's stage performance.

KEYWORDS: Modern theater, theatrical art, actor’s emotional nature, stage perception.

*Doctor of Art History, Professor of the Department of Art History The Kosygin State University of

Russia,Moscow, Russian Federation ORCID: https://orcid.org/0000-0002-4221-3923. Email:

infotatiana-p@mail.ru

Recibido: 31/05/2023 Aceptado: 19/07/2023

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Metodología del arte teatral moderno en la formación de la naturaleza

emocional del actor y las peculiaridades de su percepción escénica

RESUMEN

En la mayoría de las ciudades rusas, no lejos de la plaza central o directamente sobre ella,

hay un teatro, un espacio cultural que en los últimos años ha atraído la atención de un gran

público. El teatro puede ser atractivo para el ocio de la gente, ocupar una posición central o

periférica en la vida cultural de una ciudad, ofrecer representaciones exitosas y no tan

exitosas, pero seguramente seguirá siendo un lugar cuya vida se conoce poco. En este

artículo el autor intenta analizar científicamente y conceptualizar críticamente la

problemática de la metodología del arte teatral moderno en la formación de la naturaleza

emocional del actor y las peculiaridades de su percepción escénica. El objetivo de esta

investigación es revelar y analizar la esencia de la naturaleza emocional del actor conjugada

en la época moderna con las prácticas performativas que influyen en la condición del teatro

tradicional y el estatus personal del actor. La metodología de la investigación incluye un

enfoque sistemático y un método de análisis comparativo aplicado a la naturaleza del actor-

artista, que se desarrolló en el siglo XX, y que ahora ha abarcado otras esferas profesionales

del hombre, cambiando así las orientaciones valorativas del actor.

PALABRAS CLAVE: Teatro moderno, arte teatral, naturaleza emocional del actor,

percepción escénica.

Introduction

Theater originated from ritual games and god worshipping cult, having formed the

initial link underlying performance – acting and event. The performance independence

arose in the cultural phenomenon of ancient Roman theater already. The superfluous

acting vitality and transforming character of the event conditioned the actors’ liminal

position among medieval communities and their spatial mobility. The actor’s figure

manifested the covert cultural conflict between the humorous (overt) and rational (covert)

principles of the medieval culture, between folk and elite culture and immanently

contained it in itself. In the modern period the actor’s emotional culture occupied the

position “subject without a place” in the social-political and social-economic coordinate

system already.

The erasing of boundaries between the theater-goer’s private world and actors’

community, at first sight, did not leave the unknown and invisible territories like theater.

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Actors willingly demonstrated their professional and private life. In this context, the

anthology of theatrical subculture was more urgent and important for understanding the

modern culture, the actors’ community itself, understanding of “visibility modes” in totally

visible modern culture, in “performance society”.

The following periodicals were a valuable information source: “Actor”, “Almanac of

Imperial Theaters”, “Theater and Art”, “Theatrical City”, “Petersburg Theatrical Magazine”,

“Theater”. The consideration of the actors’ community as a cultural phenomenon, rather

stable and independent, historically long-tem, allows using these periodicals as references,

referring to them through the lens of anthropological methodology. We should point out

that this approach is congenial for us.

If under acting we understand not only a free activity, like some form, which

comprises the content, but acting as an independent phenomenon, it has own meaning

different from the meaning to serve for filling with some content. The aesthetics fills acting

just enough as long as it has been existing beyond the functionality, as long as it has been

serving itself and nothing else. Let us assume that theater most brightly embodies the

aesthetic side of acting.

The purpose of this study is to identify and analyze the essence of the emotional

nature of the artist, coupled in the modern era with performance practices that affect the

state of the traditional theater and the personal position of the artist.

1. Literature overview

The issues of defining the theatrical art and theater history are considered in the

researches (Badiou, 2011; Gurevich, 2012) and others.

The book “Rhapsody for theater” by a distinguished French philosopher Alain Badiou is

based on his article for the journal “L'Art du theater” published at Chaillot National Theater

by a famous theatrical director Antoine Viteze in 1985-1989. Badiou brings up the issues of

the relations between theater, as the type of art, and the state, politics, philosophy,

psychoanalysis and cinematograph, gives philosophical interpretation of theatrical art

mastery and its ethics, as well as the peculiarities of dramaturgical texts differentiating

them from other literary works.

The book by a known Russian literary and theatrical critic, translator and publicist

L.Ya. Gurevich “History of Russian theatrical daily routine: From mid-XVII to early XIX

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century” narrates about the history of theatrical art in Russia in the middle of XVII –

beginning of XIX centuries – an important period of the Russian theater establishment and

formation of its daily routine. The author sets himself the task of demonstrating different

sides of theatrical life of that period and their connection with the course of history, with

its particular events. The work investigates social, political and cultural conditions, in

which the theater was developing, artistic demands of the society, different organizational

forms of the theater in different social layers and in different periods of time.

Sociological aspects of cultural values of the human society are demonstrated in the

articles (Belousova, Melnik, Rimskaya, 2009; Deleuze, Anti-Oedipus, 2017; Zhuravleva,

Nestik, 2011; Massumi, 2019).

The article by М.М. Belousova, Yu.М. Melnik, V.P. Rimskaya “Methodology of the

investigation of subcultures in social and humanitarian sciences (on the example of youth

subculture)” considers the methodological aspects of investigating subcultures in the space

of social and humanitarian knowledge. It is pointed out that the correct methodological use

of the concept “subculture” assumes that any system of culture suggests the subsystem

stratification, availability of substructures and subcultures. The dominating culture itself

can be presented as the system of subcultures.

The research by А.L. Zhuravleva, Т.А. Nestik “Group reflexivity: Main approaches

and perspectives of investigations” contains the results of theoretical analysis, in which the

main approaches to studying the group reflexivity in modern social and organizational

psychology are revealed. The social and psychological factors defining the group ability to

reflexivity and attitude to it are singled out and grouped. Personal, interpersonal, group,

intergroup and organizational ones are given among those.

Performative practices were the subject of attention in the articles (Goldberg, 2015:

Lipovetsky, Beumers, 2012; Krivtsova, 2009; Nikolaenko, 2014).

М. N. Lipovetsky, B. Beumers consider the violation performances: literary and

theatrical experiments of “new drama”. Based on great many theatrical, literary and

cinematographic works belonging to the authors of a so-called “new drama”, the authors

come to the conclusion that violence became some sort of language in the modern Russian

society. It contributes to a human’s self-identity formation: everyday violence stopped

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arousing horror and started to be perceived as an everyday element of modern reality

representation.

From spiritual point, the problem of value orientation of theatrical actors was

considered (Kelle, 2018; Baranichenko, 2018; Petrov, 1997).

“Intellectual and spiritual in culture” is the last work of V. Zh. Kelle, a Soviet and

Russian philosopher, sociologist and historian of science whose works composed the whole

epoch in the domestic social science. Investigating the structural heterogeneity of cultures,

the author sees the availability of intellectual and spiritual principles in the culture of

Western European type. The book describes the intellectual principle (branch) of culture

based on subjective-objective relation, and the spiritual principle reproducing the

subjective-objective relations in culture.

N.V. Baranichenko sets the goal in her dissertation to conduct the cultural-

anthropological and philosophical analysis of the phenomenon of actors’ subculture in the

space of Western European civilization development.

The significance of the research direction chosen by us, as well as the examination of

the experience in the actor’s emotional nature development under the modern conditions of

the society development is proved by a number of contraindications revealed by us as a

result of theoretical analysis and studying of performative practices, similar to a theatrical

performance, which are fixed between:

- acceptance of the need to expand and develop the emotional component of an actor’s

game, not only on the stage, but also in other forms of theatrical performances, and, on the

other hand, the dissolution of professional theater in them;

- lack of understanding of the essence of this problem from the part of leaders of

performance groups and institutions of culture, and the lack of specialized technologies;

- possibilities of axiological approach in developing the emotional culture and

insufficient development of scientific and theoretical aspects in solving the problem.

The aim of this research is to reveal and analyze the essence of an actor’s emotional

nature conjugated into the modern epoch with the performative practices influencing the

condition of traditional theater and personal status of an actor.

The research methodology comprises the system approach to an actor’s emotional

nature formed by XX century covering other professional spheres of a human, thus, having

changed the values of an actor’s stage performance. The methods of interdisciplinary

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analysis and comparative studying of scientific art history, culturological, philosophical and

psychological literature on the research problems appeared to be demanded to define the

performance specifics and its influence on the modern theater, actor’s emotional nature and

his/her stage perception.

2. Results and discussion

The peculiarity of the actor’s domestic emotional nature is connected with its

borrowed character. The initial conflict of acting performative practices by skomorokhs

(wandering actors and minstrels) and Christianity contained the diversified conflict

between chaos and order, freedom and control, acting superfluity and ritual limitation, low

and high culture, paganism and Christianity (Badiou, 2011).

Starting from XVII century a rather long “foreign influence” emerged, which lasted

until XIX century. This allows speaking of the introduction of theatrical actors’ subculture,

in which the religiously marked contraindications were partly removed, and other, social-

economic ones, were actualized. “Homo performative” of that period settled down the

conflict between the freedom of acting and need to capitalize the performance. The October

Revolution of 1917 claimed to settle down this contraindication. The actor’s main task was

to enlighten the people’s masses, his/her performative practice was appropriated by the

revolution, ideology and politics.

Thus, the peculiarity of the actor’s domestic emotional nature is connected with its

borrowed character. Between XVII and XIX centuries the actor’s emotional nature was

formed from rather eccentric passion of the elite copying and adopting western values and

practices, including leisure ones, into an independent cultural phenomenon, in which

religiously marked contradictions were partly removed and other, social-economic ones,

were actualized (Gurevich, 2012).

In domestic theatrical performative practices we already find traditional conflicts of

acting performative practices between skomorokhs and Christianity. A rather diversified

conflict between chaos and order, freedom and control, acting superfluity and ritual

limitation, low and high culture, paganism and Christianity was removed. “Homo

performative” of that period settled down the conflict between the freedom of acting and

need to capitalize the performance, hence, the reflexivity of the attitude to actors in the

media and memoirs, critical conceptualization of own social and financial status. The actor

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took the liminal position again but in another coordinate system already, more social-

political and social-economic. To some extent, on the cusp of XIX-XX centuries he/she

forestalled by his/her position what we call “precariat” today. Mobile, nomadic, rather

socially and financially vulnerable, artistic – an actor already embodied the capitalism

anthropological logic more completely than anyone else. The Soviet state found “the place”

for an actor and defined the task for him/her – enlightenment of people and propaganda of

the state ideology.

The Russian actor’s emotional nature has undergone qualitative changes for the

recent decades. Some of them were connected with the performance transformation in

general that was reflected in the key trends of postmodern period: acting character of the

culture, erasing of boundaries, including those between culture and subculture,

penetration of performative practices into different professional media and daily life

(Belousova, Melnik, Rimskaya and Rimsky, 2009).

Despite the significance of the changes, the actor’s domestic emotional nature

preserved its integrity, rather traditional in its practices and mythologems, to which we

refer the mythologem of “damned play”, “ghost” of the theater, “great actor” and “great

director”, the mythologem of “simplicity of the great”, the mythologem of “theater-goer”,

“role”, “actor’s talent”, “legendary performance”, “theater patron”, “live stage”, the

mythologem of “loyalty” to the theater (Deleuze, 2017).

Its main inhabitants – actors who formed a rather closed community dealing with a

specific activity, speaking a special language, preserving own long-standing mythology –

were still more unknown. Such closed nature and separateness of actors’ communities were

especially surprising on the background of the cinematography explosive growth and mass

media phenomenon.

The expression of feelings is the performance basis. A skillfully made performance is

an opportunity to maintain the status and competitiveness, and artistic skills are valued

high in many situations and spheres of activity, for example, in politics, teaching and trade.

Let us also address a rather speculative thesis, which we found when analyzing the

performance as the combination of acting and event. Perceived as the combination of two

principles, the performance is presented not only as an ontological or aesthetic

phenomenon but more as an anthropological one. Acting characterized by us (in our

rendering we draw upon B. Massumi’s concept) (Massumi, 2019).

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As a source of viability itself the thing, that can be referred to the understanding of

“naked life” in G. Agamben’s work, collides with the event in А. Badiou’s rendering,

manifesting the truth and “suspending” or “cancelling” the existing being (Badiou, 2011).

Here is the source of performative subject liminality, boundedness. Being on the

boundary made it closer to the priest’s figure in antiquity, in Middle Ages it was pushed out

to the low culture of fun-fair and street space of a free city. In modern period, an actor could

be considered as most proletarian, since what he or she produced could not be appropriated

due to its nature. The event reproduction, possible here and now in chronotope of

performance, cannot be appropriated in principle. Nowadays, the spreading of performative

practices outside the theater threatens the actor, and theater and actor’s emotional nature

become the place of his/her preservation.

A cultural code or sociocode, as understood by М.K. Petrov, developed during long

time and not changing sufficiently, can serve as the feature of the subculture formed. These

are cultural-historical practices and their symbolic expression, not just uniting people into

a community, but also reproducing them as the members of this community. We also find

such code in the actor’s emotional nature. Since the performance production is their

determining activity, one side of which is the audience’s vivid emotional response, the actor

is responsible for attracting attention, including the appearance different from

representatives of other professions. This also refers to behavioral norms called upon

surprising and inducing emotions, that is definitely spread not only onto the performance

time and place but also the rest of the actor’s life (Petrov, 1997).

Transformation is another side of performance. In the terms of Jungian concept we

can speak of trickster archetype, which can fill some anthropological forms or, in М.K.

Petrov’s terms, we can speak of the actor’s sociocode, which is specific by its marginality

and boundedness, not only by periphery (not always by typology), but by peculiar

resistibility, penetrability for other codes, their imitation.

We can assume that the actors’ cultural code was formed with the emergence of

major European theaters, rather stable communities, which allowed not only producing

performance and its symbolic contribution but also conveying it from generation to

generation, depriving it of episodicity. It made it significantly different from wandering

groups whose activities were often episodic, the cast – nonpermanent. The skomorokh’s

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semiotic code in Ancient Rus can be taken as an example. The groups of skomorokhs were

also distinguished by specific clothes, masks, musical instruments, etc. However, although

having such bright image, the episodicity of performance production by these groups

problematized the issue of skomorokhs’ community as a professional one. They are more

likely traced back to pagan myth-ritual practices, for which the performance was rather a

form than content (Zhuravlev, Nestik, 2011).

Actors’ communities can be also typologized, singling out the professional one

consisting of actors with professional education. It can be spatially represented by actors of

provincial or metropolitan theaters; the subprofessional community, which comprised

amateur actors without professional education and related to professional community

episodically and partially. The members of that community were rather often localized by

the stage in houses of culture, unspecialized premises (basements, attics, art cafes), street

spaces; near-theater community consisting of people close to artistic environment and

involved into different artistic projects from time to time, though not losing the contact

with the artistic environment.

The presented typologies of the actor’s emotional nature are grouped around the

performance specific “energy center” (and here the analogies with energy understanding in

S. Freud’s psychoanalysis, B. Massumi’s vital energy and А. Badiou’s transforming effect of

Event are appropriate). Performance, in its realization, sets specific spatial-time

boundaries-discontinuities, which deliberately take the subject out of the sphere of trivial

and secular, and “suspend” habitual practices (B. Massumi) in the excess of acting, life

principle that is realized “here and now”, at the moment, during the performance. The

Event, as the power or energy of sense, as well as Acting, last outside it. Here, we take the

liberty to designate it with the capital letter, since it produces performance as a profession

and sets it as a goal in itself, creating both a separate person (and transforming it) and the

whole community, which we call the artistic subculture and define it as the community of

people with the main and single goal to produce performance (Lipovetsky, Beumers, 2012).

Professional mythologems do not only mark the actors’ community but also preserve

it, mark its boundaries. Moreover, the latter are necessary to preserve the community. The

phenomenon of “personal” mythologems – superstitions and beliefs – speaks of the

appropriation of the whole actors’ mythology by a certain subject, subjectivization of

collective performances, thus verifying their “live” character. If the assertion that the myth

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was acted, i.e. the myth is primary and acting is secondary, is the common point of view, the

latter is only the form of the myth existence, then in respect of the actors’ environment this

scheme can be turned over – not “the myth is acted” but “acted is the myth”. This is not only

the transposition of words but the reflection of the primary acting, which supports the

myth and creates a new one, even on the level of a separate subject. But the myth also acts

as a symbolic boundary protecting performance itself. It is arranged around acting, its space

(stage and theater itself), time (mythologems marking specific time of theater and

performance) and an actor himself/herself.

We only indicated the problem, in our opinion, characterizing the modernity and

consisting of the change in the relations between acting and event, their approaching or

discontinuity, purification from somebody else’s appropriation.

Despite the conditional struggle between “the old” and “the new”, at present, the

Russian artistic subculture is distinguished by sufficient cohesion under the condition of

big difference in material provision, and the subculture continues the struggle for own

values and interests in mass media. Besides, the means of mass media themselves are the

refection of culture-universal trend to narrowing the private sphere, increasing “the

visibility” of a person’s private life, greater representation and self-representation motivated

by the desire of popularity growth and, as a result, capitalization of a person as a product

(Nikolaenko, 2014).

And in this trend the actor’s Russian emotional nature follows the worldwide

tendencies, which, in our opinion, can threaten the artistic subculture itself and actor’s

identity. The question is whether the actor and his/her profession are preserved when a lot

of other people are dealing with self-representation. The competition for attention is

expanded in the virtual space of mobile applications and space of screens (Kelle, 2018).

The accessibility of a camera and ways to show oneself makes representation

extremely affordable. And if we perceive anyone who wants to transform, impress, induce

emotions as an actor, we can speak of the end of the subculture, which became the culture.

And it is the actor’s theatrical emotional nature (mostly domestic) that strives for

preserving itself via the reproduction of tradition, support of mythologems, values of actors’

education.

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Conclusion

Thus, the essence of the actor’s emotional nature is the production of performance,

which, as we assumed, comprises acting and event. Performance arises from the

combination of acting, vital, spontaneous, energy principle and event discovering the truth,

disrupting the continuous being. The performative practices and anthropological senses,

which we emphasize and track in the history of European civilization, are arranged and

localized around it as “the energy core”.

The redundancy of acting and its viability in combination with the event

revolutionary character conditioned the liminal position of actors among medieval

communities. Thereby, the actor’s figure itself attracted the whole range of

contraindications of the medieval culture, between the humorous (overt) and rational

(covert), folk and elite culture. In the modern period, an actor preserved the position of “a

subject without a place” in social-political and social-economic coordinate system already.

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