THE INTERACTION OF VOCAL AND SPEECH TECHNIQUES IN THE TRAINING OF A MUSICAL AND DRAMATIC THEATER ACTOR: METHODOLOGICAL APPROACHES AND ARTISTIC RESULTS

Abstract

The modern development of musical and dramatic theater entails a significant rethinking of the requirements for the professional training of an actor, for whom voice mastery acquires a complex, synthetic character. In today's theatrical practice, an actor increasingly appears as a universal performer, capable of organically combining dramatic speech, vocal expression and psychological action within a single stage image. Under such conditions, the voice acts not only as a technical means of communication with the stage and the audience, but also as a leading instrument of artistic thinking, a carrier of intonationsemantic and emotional information. At the same time, in the system of professional art education, vocal and speech training of an actor of musical and dramatic theater is mostly implemented as a set of separate academic disciplines that have their own methodological principles and pedagogical tasks. Such differentiation, although justified by the specifics of each branch, often leads to the fragmentation of the formation of vocal skills, disruption of the unity of respiratory organization, articulation, resonant sound and intonation expressiveness. In the practice of stage performance, this is manifested in difficulties in the transition from speech to singing, loss of semantic logic of expression or reduction of artistic persuasiveness of the image. The relevance of the problem is also enhanced by the transformations of the modern theatrical space, in which the number of genre-synthetic forms is increasing – musical and dramatic performances, musicals, performative projects, which require the actor to have a high level of integration of vocal and speech techniques. In such conditions, a methodological approach aimed at the formation of a holistic stage voice, capable of flexible functioning depending on the dramaturgical tasks of the role, becomes of particular importance. Despite the presence of thorough scientific research devoted separately to vocal pedagogy and stage language, the issue of their systemic interaction in the training of a musical and dramatic theater actor remains insufficiently developed. This necessitates the need for a scientific understanding of integrative methodological approaches aimed at achieving high artistic results and improving the modern system of theater education, which determines the relevance of the chosen topic