Olonkho as a source of plastic education of an epic theater actor

The article reviews the role of olonkho in plastic education as one of aspects of developing professional skills of an epic theater actor. The epic heritage of the Sakha people is a unique work that contains the origins of the search for theater pedagogy. Organic “co-existence” in the olonkho is both the theater of “experience” and the theater of “performance”. Plastic education of an actor cannot be considered separately from the disciplines of the professional cycle: acting, stage speech, folk singing - toyuk. Any physical action on the stage is dictated by an internal action. The action combines into a single whole the thoughts, feelings, imagination and physical (bodily, external) behavior of the actor, who owns two streams of consciousness - the character’s “I” and the actor’s “I”. Olonkho accumulates a plastic picture of the role, an internal monologue of the character, a description of his/her external characterization, his/her assessment. The article describes the diploma staging of 4th year students of performance-olonkho “Kyys Debiliye”, narrator N. P. Burnashov. It is a modern dynamic action, based on the experience, traditions and knowledge of ancestors, yet interpreted by the younger generation in the spirit of modern areal theater, thereby introducing its powerful energy, sparkling and enthusiasm into the epic canvas of the ancient text. The main means of artistic expression are toyuk, onomatopoeia, plastic, based on elements of ceremonial and ritual acts, folk games, dances and songs. In the play you can see the synthesis of the epic theater with its “effect of distancing” and realistic theater. The text of olonkho is the source of plastic expressiveness, the development of characters, battle scenes. The professional theater of Yakutia was formed by the Russian theater school, the Maly Theater school. Masters of the department of theater art carefully preserve the traditions of their school. Conclusions and suggestions on the education of the plastic expressiveness of an epic theater actor are given. The experience of educating actors for the professional olonkho theater showed that it is important to introduce elements of the motor culture of the Sakha people into the disciplines of the plastic education cycle.

plastic expressiveness, gesture, movement, olonkho, stage movement, action, epic theater, plastic culture, toyuk, switching, simultaneous space

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