Abstract: The object of this study is the speech style of artists of the Bolshoi Drama Theater in the 1950s and 1960s. The subject of the study is the evolution of the speech style from the first to the second edition of G. Tovstonogov's performance "The Fox and the Grapes" ("Aesop"). The author of the article studies in detail two versions of the famous performance, analyzes the acting speech of N. Korn, V. Polizeimako, O. Basilashvili and S. Yursky from aesthetic and technological positions. The author pays special attention to the fundamental changes in the intonation-melodical architectonics of sounding speech in less than one decade. A change in speech style in the Bolshoi Drama Theater is included by the author in the wider context of changes in the art of the "thaw" era. The methodology of this study includes measurement (auditory analysis of the pace of speech, auditory analysis of diction and orthoepia, instrumental analysis of the intonation-melodic score), comparative analysis, induction, historical method. The novelty of the present study lies in the combined use of auditory and instrumental analysis tools for acting speech. The author clearly proves the subjectively obvious difference between the sound of speech in the first and second editions of the performance "The Fox and The Grapes" by conducting a detailed comparative analysis of acting speech in all main parameters: tempo, diction, orthoepia, melodics. From the study of a specific performance and specific acting works, the author goes to generalization, concluding about the powerful influence of screen (cinematic) speech on theatrical speech in the 1950s and 1960s, about the formation of a new standard of audience perception and a new idea of the naturalness of acting speech.

Abstract: The object of research in this article is the actor speech in the cinema of the "Khrushchev Thaw" period. The subject of the research is the artistic specifics of the recorded speech in the film "I am Twenty." The article analyzes the use of "subjective microphone" technique in the sound landscape of the film "I Am Twenty" by Marlen Khutsiev. The aesthetic and technical aspects of the use of the above technique have been analyzed in detail. "Subjective microphone" is considered by the author as part of the updated speech style that appeared in Soviet cinema in the era of the " Khrushchev Thaw." The author pays special attention to the influence of the updated speech aesthetics of cinema of the 1950s and 1960s on theatrical art and acting.
The novelty of this research lies in the study of the phenomenon of acting speech in the cinema of the "thaw" from an aesthetic and technical standpoint. The term "subjective microphone" was first introduced into scientific circulation in application to sounding speech in screen arts. The term "cross-diegesis" is proposed for inclusion in scientific circulation to determine a special sound space formed in screen arts when using the technique of a "subjective microphone."
The article scientifically substantiates a special place that is occupied by the "subjective microphone" technique in the concept of dividing the sound space of the film into diegetic, non-diegetic and methadiegetic layers. Separately, the author dwells on the inclusion of the reception of the "subjective microphone" in the general documentary-poetic artistic style of Marlen Khutsiev.
In conclusion, the author says that the appearance of magnetic sound recording in the 1950s had a powerful effect on the aesthetics of film monography and, in particular, the sound of acting speech.