Abstract: The author examines four main things taught by Confucius: virtue, speech, political questions, and literature in the context of their use in teaching scenic art. The author claims that speech is extremely importance, as it is not only a criterion for assessing virtue, but also necessary means for participating in political affairs and mastering literature. The article describes asset of guidelines for speech practice, their application in teaching acting techniques, and significance for practicing “dialogue” in scenic speech class. Attention is focused on teaching improvisation dialogue to the actors. Such practical course is intended for logical organization of speech skills of the students. A conclusion is made that Confucius' understanding of speech practices allows teaching improvisation dialogue to the future actors. At the initial stage of teaching improvisation dialogue, it is important to instill  the sense of self-consciousness into students, dispose towards self-education, teach to be in a stable work condition, and only then organize speech based on the suggested circumstances. During this practical course, it is necessary to follow true emotions, mutual trust, sincerity of communication and, and how the student overcomes difficulties if logically structures the line of dialogue. The next step is to teach the future actor a rational attitude towards a situation.

Abstract: This article is dedicated to the work with students in Russian and Chinese theatrical schools, which is structured on the elements of acting techniques determined by the “Stanislavsky system” as the leading theoretical foundation in the training of novice actors. It is noted the assisting methods in the process of actors training is the methods and approaches towards drama training applied by Vsevolod Meyerhold and Nikolai Demidov. Leaning on the national and foreign experiments, the professors are guided by personal long-term artistic experience and theory of acting art, trying to make this course on the basis of substantial scientific theory and practice. The author claims that actors training in China leans on the Meyerhold system, with focus on development of self-control, control over body, voice and emotions, orientation towards manipulation of the character, coupled with random body movements as the basis. Professional acting technique training in Chinese theatrical schools is founded on the basic knowledge of professional skills for improving the laws of physical body movement, emotional control, cognition and interpretation of the character.