Stage Speech Training in Producing English Plays in Ukraine

Abstract

The purpose of the article. The article is devoted to the study of stage speech, in the professional field of acting that has to correspond to the innovative nature of science in the XXI century. The ways of creating new communicative means of applying stage speech trainings on the basis of Internet resources, audio and video materials, original scripts and their translations, namely Simon Stephens’s play after Mark Haddon’s novel The Curious Incident of the Dog in the Night-Time, are observed and analysed. The research methodology is based on the application of chronological method to research different stages of stage speech training, comparative method to conduct the comparative analysis, typological method to reveal the factors and determine the features of this process, as well as theoretical method to draw conclusions and develop further recommendations. Scientific novelty. The theoretical background and practical examining of the original theatrical literature is considered the main source of the latest information of a special nature. Conclusions. Problems of stage speech technique in modern acting in general, including Ukraine, need further consideration, understanding, and thorough research. The conditions for the functioning of language in the theatre are to be relevant to the requirements of stage practice that it is worth talking about a kind of separate stage style of speech. Actors use their voice to project external emotions, combining it with body movements to interpret the text and to present the story. Therefore, the voice cannot be seen as an isolated skill, but as a skill that requires coordination of the whole body. The Artistic director of the Lesya Ukrayinka theatre M. Reznikovych and K. Kashlikov, Director of the play, say that it is a great responsibility, and, most importantly, the opportunity to find the equivalent that could interest the Ukrainian audience. It seems that getting acquainted, as well as the use of exercises in the language of the original, can bring actors closer to understanding the author's idea, and the director to bring the atmosphere of the original and to adapt the original to the Ukrainian audience. The given examples of complexity of translation testify that actors are faced a multitasking work of reproduction of the idea on the scene. Each character represents the character in the stage language for more than two hours on a scene. Without stage speech training, this is almost impossible. Some of the best exercises for stage speech training were presented.

Key words: stage speech trainings, voice, body, breathing, diction, rhythm, youth vocabulary, translation, Ukrainian audience