Model of actor’s psychophysical actions based on Leontiev’s activity theory

Abstract

Background. Dramatic art requires methodological foundations to be applied for training; psychological theories can form the basis for actor’s skills and allow for the conscious control of performing activities. Nowadays the realistic approach to theatrical art (Stanislavsky, K.S., Toporkov, V.O.) based on the idea of the life-like verisimilitude of acting does not lose its relevance, however, its terms and methods require correlation with psychological constructs describing the structure of actor play as a type of activity.

Objective. Development of model ideas about the structure of an actor’s psychophysical actions by correlating the psychological structure of activity as per A.N. Leontiev with the system of acting work presented in the approaches of K.S. Stanislavsky, V.O. Toporkov.

Methods. A systematic analysis of domestic and foreign research on the psychological structure of activity (A.N. Leontiev, L.S. Vygotsky, K. Levin, B.V. Zeigarnik, W. James, S. Shekhter, etc.) allowed to apply A.N. Leontiev’s theory of activity to the methods of acting presented in the works of the famous theater directors (K.S. Stanislavsky, V.O. Toporkov, M.A. Chekhov, V.E. Meyerhold, E.B. Vakhtangov, etc.).

Results. It is shown that external and internal sides of the actor’s psychophysical action have the same psychological structure: activity (reconstruction of realistic human behavior) — motivation (“supertask”, character’s “struggle”), action (psychophysical action) — goal (representation of the final result related to “supertask”), operation — conditions (given circumstances). The permanency and controllability of the actor’s psychophysical actions is ensured by motivational structures (motive, goal), and not by emotions, which lack incentive effect and duration. Experience arises naturally while acting in the given circumstances motivated by goals and supertask.

Conclusion. Understanding the structure of activity and its motivational aspect allows to control the actor’s psychophysical action through conscious goal setting and managing its achievement. Psychophysical actions cannot be performed beyond the given circumstances and represent a synthesis of the first and second signaling systems.

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