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The meaning of the word role

role in the crossword dictionary

role

Explanatory Dictionary of the Living Great Russian Language, Dal Vladimir

role

Wed not inclined French the place occupied by an actor, according to the nature of his acting; place, position, rank. He is accepted into the theater for the role (title) of heroes, old people.

Explanatory dictionary of the Russian language. D.N. Ushakov

role

uncl., cf. (French emploi). The nature of the roles performed by the actor (theater). The role of a comic old woman. Role of the first lover. Actor in the role of a reasoner,

trans. role, position (in society), range of activities. Role of a secretary. The role of a housewife. The role of a wit. To be in someone's role. (play the role of someone).

Explanatory dictionary of the Russian language. S.I.Ozhegov, N.Yu.Shvedova.

role

uncl., cf. Type of acting roles. L. reasoner. This is not his (also translated: he does not do this, this is not part of his rules, his circle of interests).

New explanatory and word-formative dictionary of the Russian language, T. F. Efremova.

role

Wed several

An actor's specialization in playing roles that best suit his external stage characteristics and the nature of his talent.

trans. Position, role in society, range of activities, interests.

Encyclopedic Dictionary, 1998

role

AMPLOIS (French emploi, lit. - application) relatively stable types of theatrical roles, corresponding to the age, appearance and playing style of the actor: tragedian, comedian, hero-lover, soubrette, ingenue, travesty, simpleton, reasoner, etc. In the 20th century. this concept is falling out of use.

Role

(French emploi ≈ use, use; position), the actor’s specialization in performing roles that are similar in type and united by a conventional name. The name A. usually comes from the main function performed by the character in the play [for example, lover (roles of youths, young men with beauty, intelligence, nobility, loving or being the object of love), travesty (roles of youths, boys, teenagers performed by women ) etc.], or from the main trait of his character [for example, hero, tyrant, noble father, ingenue (i.e. naive girl), grand coquette (coquette), etc.]. The emergence of acting was facilitated in the history of theater by two counter processes: the transition from play to play of homogeneous characters and the establishment of a performing tradition that limited the possibility of individual interpretation of the role. As a result, the techniques of the game were canonized in relation to the types depicted. Realism, with its complex understanding of human character, is alien to the specialization of performers according to A. The Moscow Art Academic Theater rebelled especially sharply against specialization. The Soviet theater strives to educate an actor with a wide creative range, and therefore the division into A. is not accepted in it. Many leading theater figures in foreign countries adhere to the same principles.

T. M. Rodina.

Wikipedia

Role

Role- a certain type of roles corresponding to the external and internal data of the actor.

Examples of the use of the word role in literature.

There are two people in the room - Bezrukov and Lieutenant Colonel Kalinin, who once worked in Moscow role Lydia’s husband, and now urgently arrived in London to clear up the mess that has brewed here.

Those who observed him much later in a completely different way role such different people as A.

The American press was also alarmed to discover that the Soviets had a leader capable of challenging Ronald Reagan in an area where he considered himself a consummate professional: role public politician.

Demiurge of the new world or leader of the second world superpower in role the secretary of the regional committee, responsible for everything that happens in the territory under his jurisdiction - from the procurement of feed to the provision of schoolchildren with textbooks.

Choice role a professional evolutionist in a country accustomed to rebel anarchists and despots could mean either blatant naivety, for which Russian critics never tire of accusing Gorbachev, or supreme political wisdom, for which mainly Western admirers never tire of praising him.

O world, where instead of holly arches of rainbows Above us, Where the moon shines instead of lamps, Where we are, we play weakly, Oh, how could we at least not confuse role, role, role, role, role, Oop-la-la.

Lope de Vega, who created this stage role - role a clever or, conversely, clumsy servant, often a smart and crafty peasant.

“What do you think about it,” he asked, smiling dispassionately, “to test yourself in role TV presenter on a crime news program?

For role TR-physics, you seem to me, excuse me, too young and too red-haired.

I’ve been working here for four days now and, as you just put it, it’s in role TR-physics.

Yesterday I started a new life in an unusual place role, in an unfamiliar house, and in order for the debut not to fail, it was simply necessary to balance my achievements and defeats that marked this life.

As in Chinese classical theater, this role Kabuki theater has a long history and is associated with high stage performance.

The female role is onnagata, perhaps more than any other role, requires the performer to have a special gift of transformation.

Therefore, when in reality the dreams of working bread were resolved by the fact that she was offered to take over the operetta role on the stage of one of the provincial theaters, then, despite the contrast, she did not hesitate for long.

Vigo finds such a mechanism by returning to the grotesque: a mass riot begins; Buffon is subject to torture, but at the same time does not lose his role.

Role - type of acting roles. The role takes into account the external and psychophysical features of the character and the actor’s corresponding data.

In the second half of the 15th century, the specialization of actors according to a certain type of character appeared in European theater. It is called role (translated from French - application).

The most ancient roles are tragedian and comedian. They arose from the basic masks of ancient theater.

The emergence of the European role system as a certain set of rules regarding acting took shape in the era of classicism theater. According to the classicist system of roles, an actor applying for a certain role must have, first of all, external data appropriate for this role (height, build, type of face, timbre of voice, etc.). So, if an actor had a tall stature, a stately figure, regular facial features, and a low voice, he could count on playing the role of a hero in a tragedy. An actor of short stature, irregular physique, and a higher-pitched voice was only suitable for comic roles.

Transitions from one role to another were not allowed, with the exception of age-related roles: an aged tragic hero-prime minister, for example, became a “noble father.” Each role had its own line of behavior, its own declamatory and plastic features.

The first fixed Russian system of roles can apparently be considered the Painting (1766), compiled by Empress Catherine II. According to this Painting, the imperial theater troupe (St. Petersburg) was supposed to have actors and actresses in the following roles: first, second, third tragic lovers; first, second, third comic lovers; per-noble (noble father); per-comedian (comic elder); first and second servants; reasoner; hyoid; two confidants (confidants); the first, second and third tragic lovers; first, second comic mistresses; old woman, first and second maid; two confidantes (confidantes). The composition of the troupe of the imperial theater half a century later (in the early 1810s) already included other roles: the role of the king in tragedies, the petimeter (dandy), the simpleton, the young coquette, the innocent (ingénue); at the same time, some roles (for example, scythe) disappeared from the theater staff.

In the 19th century Many new roles appear, including travesty, grand coquette, neurasthenic, etc. At the end of the 19th century. in Russian theatrical practice there are roles differentiated according to national, social, everyday, age and other characteristics. Thus, in the Index of plays for amateur performances with the designation of roles by role and the necessary scenery (M., 1893) the national roles of “Armenian”, “Tatar”, “Jew”, “German”, the social and everyday role of “merchant”, age children's roles of “girl” and “boy”. The movement to increase the list of roles and to specify it is associated with the growing interest in the theater of the 19th century. to human individuality.

The awareness of role as an aesthetic category of theater occurred at the beginning of the 20th century. Opponents of theatrical roles were K.S. Stanislavsky and M.A. Chekhov, who saw acting in roles as theatrical cliches and routinism, an obstacle to the development of an actor’s individuality

The emergence of the European system of roles as a certain set of rules concerning acting apparently took shape in the era of classical theater. According to the classicist role system, an actor applying for a certain role must have, first of all, external data appropriate for this role (height, build, type of face, timbre of voice, etc.). So, if an actor had a tall stature, a stately figure, regular facial features, and a low voice, he could count on playing the role of a hero in a tragedy. An actor of short stature, irregular physique, and a higher-pitched voice was only suitable for comic roles. Transitions from one role to another were not allowed, with the exception of age-related roles: an aged tragic hero-prime minister, for example, became a “noble father.” Each role had its own line of behavior, its own declamatory and plastic features.

In the 18th–19th centuries. the role system existed more in oral theater practice than in theater theory. The role system was used when creating a theater troupe: the list of roles took into account the most common dramatic types and made it possible to recruit the actors needed to play any repertoire. There were various ways to classify actors by role. So, Patrice Pavy in his Theater dictionary names the role by social status (king, servant, etc.), by costume (role in a robe, role in a corset, livery role, etc.), by function in the drama (ingénue, lover, villain, confidant). The role systems that actually existed were, as a rule, of a mixed type. The role system, on the one hand, represents a stable basis for theatrical action, on the other hand, it is more mobile and flexible than the mask system. A specific set of roles, their names change in different eras.

The first fixed Russian role system can be considered, apparently, painting(1766), compiled by Empress Catherine II. By this Murals in the imperial theater troupe (St. Petersburg) it was supposed to have actors and actresses for the following roles: first, second, third tragic lovers; first, second, third comic lovers; per-noble (noble father); per-comedian (comic elder); first and second servants; reasoner; hyoid; two confidants (confidants); the first, second and third tragic lovers; first, second comic mistresses; old woman, first and second maid; two confidantes (confidantes). The composition of the troupe of the imperial theater half a century later (in the early 1810s) already included other roles: the role of the king in tragedies, the petimeter (dandy), the simpleton, the young coquette, the innocent (ingénue); at the same time, some roles (for example, scythe) disappeared from the theater staff.

In the 19th century Many new roles appear, including travesty, grand coquette, neurasthenic, etc. At the end of the 19th century. in Russian theatrical practice there are roles differentiated according to national, social, everyday, age and other characteristics. So, in Index of plays for amateur performances with the designation of roles by role and the necessary scenery(M., 1893) the national roles of “Armenian”, “Tatar”, “Jew”, “German”, the social and everyday role of “merchant”, age-related children’s roles of “girl” and “boy” are listed. The movement to increase the list of roles and to specify it is associated with the growing interest in the theater of the 19th century. to human individuality.

The awareness of role as an aesthetic category of theater occurred at the beginning of the 20th century. Opponents of theatrical roles were K.S. Stanislavsky, M.A. Chekhov, who saw in acting according to roles theatrical cliches and routinism, an obstacle to the development of an actor's individuality. Among the supporters of the role system, who understood it as a properly theatrical way of classifying human types, were V.E. Meyerhold, N.N. Evreinov, A.R. Kugel and others.

In 1922, in a brochure by I.A. Aksenov, V.M. Bebutov and V.E. Meyerhold Role of the actor The acting role was defined as a position held by an actor “with the data required for the most complete and accurate performance of a certain class of roles having established stage functions.” Through the role system, the connection between the typology of dramatic plots and the acting typology was shown. The authors made an attempt to create a timeless, “eternal” table of seventeen pairs of male and female roles, with the help of which it is possible to cover the entire corpus of dramatic literature from antiquity to modern times.

A hidden role system also exists in modern theater. For example, in the 1970s, due to the large number of production plays, a new role of the “social hero” arose in the dramaturgy of social themes.

Role as a method of typification in drama

Role in drama is a method of typification, akin to the dramatic type-mask and opposite to character.

Dramatic type-role is a conscious simplification, schematization, deliberate idealization or reduction, refusal of an individualized image of a person in order to enhance any of his individual qualities; searches for certain groups (based on gender, socio-psychological, age, etc.) of human society. A character created as a dramatic role type does not reflect a unique human personality, but a “representative of a group,” “one of many.” So, in Optimistic tragedy V. Vishnevsky Woman Commissioner or Leader are “social roles”. The dramatic type-role is closely related to the stage grotesque and is actively used in the theatrical practice of the conventional theater of the 20th century.

Olga Kuptsova

Role
From Greek Employ - application
Role - in drama theater - a type of role that corresponds to the actor’s stage characteristics. There are roles of hero, villain, lover, reasoner, jester, etc.

Hero/Heroine
The hero is the stage role of the leading actors. Varieties of this role have become widespread in various stage genres: hero-lover, hero-reasoner, hero-fat, hero-neurasthenic, character hero, everyday (shirt) hero.

Grand Coquette
Grand coquette - acting role; the roles of beautiful, graceful and perky women.

Grandame
From fr. Grande-dame - noble lady
Grandam - theatrical role; actress for the roles of middle-aged noble women.

Gracioso
Spanish Gracioso
Gracioso - in the Spanish comedy of the 16th-17th centuries - an acting role; type of joker and joker.

Duenna
From Spanish Duena - companion
A duena is the role of characteristic old women in the plays of classical Spanish theater of the 16th and 17th centuries. Usually a duenna serves as a mediator between lovers or, on the contrary, prevents them from getting closer.

Premier's wife
fr. Jeune premier - first young
Premier's wife - outdated - the role of an actor playing the role of first lovers.

Ingenue
From fr. Ingenue - naive
Ingenue - in the Russian pre-revolutionary theater - an acting role; the roles of simple-minded, naive, charming young girls, deeply sensitive, slyly mischievous, playful and flirtatious, with a peculiar sense of humor.

Coquette
fr. Coquette
Coquette - acting role; the roles of beautiful, graceful, perky and young women.

Comedian
Comedian - theatrical role; an actor performing comedic (comic) roles.

Lover
Lover is an outdated acting role; the roles of youths, young men with beauty, nobility, intelligence, etc., loving or being the object of love.
Depending on the genre of the work and the nature of the roles, heroes-lovers and salon lovers are distinguished.
Depending on the significance of the role, first and second lovers are distinguished.

Confidant
Confidante; Confidant; Confidant
fr. Confident; fr. Confidente
From lat. Confido - I rely, I believe
Confidant - in the tragedies of the 17-18 centuries - a stage role; nurse, tutor, secretary, companion or other person close to the hero or heroine. The role of the confidant is of an auxiliary nature: when answering the confidant’s questions, the hero talks about his thoughts, feelings, and actions.

Petimeter
From fr. Petit maitre - dandy
Petimeter - in the Russian theater of the 18th century - an actor's role; a type of secular helipad, a dandy, an empty, ignorant nobleman who slavishly imitated everything foreign.

Simpleton
Simpleton - acting role; the roles of simple-minded, naive or narrow-minded people.

Reasoner
Reasoner - acting role; role of the narrator:
- not taking an active part in the development of the action; And
- designed to exhort or denounce other characters, expressing moralizing judgments from the author’s position.

Soubrette
fr. Soubrette; Italian Servetta
The soubrette - in French comedy - is the role of a lively, witty, resourceful and crafty servant who helps her masters in their love affairs. The role of the soubrette comes from the mask of Servette in the Italian commedia dell'arte.

Travesty
From Italian Travestire - to change clothes
Travesti - role in the drama theater; actress performing:
- roles of boys, teenagers, girls; and
- roles that require at certain moments the action of dressing in a man's suit.

Tragedian
Tragedy actor; Tragedy actress
Tragedian - stage role; an actor performing tragic roles in the classical repertoire.

Many, thinking about acting talent, also thought about such a definition as the role of an artist. Today we will talk about this and try to understand: a role is a sentence, a cliche, which, according to K. S. Stanislavsky, does not allow the actor to develop his individuality, or, nevertheless, the opportunity to understand in which roles his talent will manifest itself especially clearly.

So, the role isWhat is this?

The word “role” came to us from the French language, where it means “place, position, method of application.” This word defines the roles in which he is predominantly occupied depending on his psychological and physical characteristics, without forgetting his level of skill and playing technique.

How did the concept of “role” appear in theatrical art? What did this word mean in the 15th century?

In the European theater in the second half of the 15th century, a division of actors by type arose. The first and most ancient, as you understand, were the roles of the tragedian and comedian, which appeared in Ancient Greece, and then they were joined by such allegorical images as Good, Envy, Reason, as well as the fool (clown), demon, etc. .

Later, already in the 17th century, kings, tyrants, beauties, heroes, and villains appeared among them. Interest in personality is growing, and with it the roles of the actors playing them are expanding.

At the Catherine Theater in Russia, by decree of the Empress, the troupe was recruited strictly according to character: hero, simpleton (comic role), noble father, veil, heroine, comic old woman, travesty, ingénue, soubrette. This selection of actors allowed the theater to perform both tragedies and comic performances.

How the acting role expanded

A clear role helped the actors to get deeply into the character, choosing techniques that accurately and vividly portrayed the hero. But as theatrical art and drama developed, they could no longer be within the framework of one mask image, and therefore a tendency arose among actors to break it, playing both comic and tragic roles. This led to a more subtle and ambiguous game, as well as to a deep and comprehensive perception by the viewer of the situation shown on stage.

Has the acting role disappeared? What does this concept mean now?

Development in the 20th century. avant-garde forms again brought back to us “masks” - the role of an actor. An example is the Raikin Theater, which actively uses this technique.

But other theater and film actors sometimes also cannot get rid of their role completely. After all, we all understand that often an artist’s type, appearance or manner of acting predetermine the roles to which he will be invited most often. And it's almost impossible to break.

And once again about the role

So, acting role - what is it? Is it good or bad to get stuck in a type, in a limited idea of ​​your capabilities? Unfortunately, there is no clear answer to this question. Diversity is the unique ability of an actor to shine equally brightly in any role. But when selecting a performer for the role, the director will still rely on his external characteristics, because it is difficult to imagine a freckled girl playing the role of Katerina in “The Thunderstorm.” So as long as it exists, the role of an actor will exist.