Stanislavsky's system in RCT lessons: a new level of dubbing feature films and cartoons

Starodub-Afanaseva Yana Yurevna ORCID: 0009-0004-7721-5269 Postgraduate student; Institute of Philology; Moscow Pedagogical State University Head of the literary and Dramatic department; Moscow State Theatre of Growth in Tsaritsyno 127299, Russia, Moscow, Bolshaya Akademicheskaya str., 9 building 1, sq. 132 yana_starodub@mail.ru

introduction

In the methodology of teaching Russian as a foreign language today, for such phenomena as dubbing feature films and cartoons, the methodological status is not actually defined. This technique, which can be used for broad linguistic and didactic purposes, from making sounds to creative speaking, is absent not only in textbooks or methodological developments, but is also not described in specialized literature, for example, in the dictionary of terms by E. G. Asimov and A. N. Shchukin ^[1]. And in the developments of scientists M. A. Efremova, I. A. Koroleva, L. P. Mukhin ^{[2, 3]}, which involves the re-sounding of audiovisual materials, dubbing is positioned as a way to "teach /inophones/ to imitate authentic samples of oral utterances" ^{[2, pp. 28-29]}, which, in our opinion, deprives it of a creative component and it does not reveal its huge potential. Thus, voicing in RCT is one of the exercises used in the framework of audiovisual or audio-linguistic teaching methods, and it is not the most popular exercise, since it is based on the mechanical copying of native speakers' speech.

According to the accepted classification, the audiolingual teaching method involves repeated listening and playback after the speaker of strictly selected structures (sample sentences), which leads to their automation ^{[1, p. 23]}. There is an important detail in the current definition of the audiovisual teaching method: it is applicable exclusively at the initial stage and is characterized by the predominance "in accordance with the ideas of behaviorism of mechanical repetition of speech patterns to the detriment of creative forms of work", as well as "constrains the use of the method in classes with adult learners and in higher school settings" ^{[1, p. 23]}. That is why, in modern conditions of teaching a contingent of foreign students who prefer visual images, it is necessary to clarify not only the method itself, but also the techniques justified by it.

The object of the research is the process of teaching Russian as a foreign language in the aspect of K. S. Stanislavsky's effective analysis.

Subject of the study: dubbing as an independent method of audiovisual teaching of RCT.

The purpose of this study is to determine the conditions under which the transformation of voicing into an independent technique of RKI becomes as complete and effective as possible; the implementation of this goal is based on the experience of integrating effective analysis into the practice of RKI, adopted in academic theatrical methodology and based on the sketch method. The scientific novelty of the study lies in verifying the hypothesis that effective analysis can be an effective means of teaching Russian as a foreign language, and the method of dubbing feature films and cartoons with foreign speakers, provided that the Stanislavsky system is methodically applied, expands the modern understanding of audiovisual and audio-linguistic methods of RCT with the possibility of its application in higher education with foreign speakers of level B1.– B2.

THEORETICAL AND METHODOLOGICAL FOUNDATIONS OF RESEARCH AND APPROBATION

The theoretical and methodological foundations of this research are divided into two categories. The first category includes works in the field of RKI methodology itself, which prove the effectiveness of using feature films and cartoons in RKI lessons (works by I. E. Abdrakhmanova, O. V. Khurmuz, T. A. Khramchenko, I. G. Chuksina, H. M. Fazylyanova, E. V. Kovalchuk, O. L. Abrosimova, L. V. Voronova, M. A. Efremova, I. A. Koroleva, etc.) and the importance of the principles of art pedagogy in working with foreign students (works by E. I. Mishina, T. V. Khristidis, L. D. Lebedeva, A. I. Kopytin, etc.). The second category is research in the field of academic theatrical methodology (fundamental works by K. S. Stanislavsky, V. I. Nemirovich-Danchenko, M. O. Knebel) and recent publications devoted to the application of the method of "effective analysis" in the modern theater school (works by N. A. Zvereva, A. A. Barmak, I. L. Reichelgauz, S. V. Zhenovach, etc.).

The idea of creating a voice-over system by integrating RCT and "effective analysis" is reflected in the author's program "I understand!" ^[4], which is being implemented in 6 universities in Russia and China based on the textbook of the same name ^[5] and has already had positive results.

During the year of the experiment ^{[4, 181-184]}, 14 teachers from Moscow Pedagogical State University, Amur State University, Weinan Pedagogical University (PRC), Qiqihar University (PRC), and the Russian Academy of Music. Gnessin and the Higher School of Economics conducted a total of more than 1,000 hours of classes in dubbing studios "I understand!" for 700 Chinese students using the system described in this article. The result of the work was an international festival with broadcasts to 17 cities of Russia and China, which featured 11 cartoons and films dubbed into Chinese and re-dubbed into Russian. The examination of all submitted papers (28) was carried out by 7 reputable doctors and candidates of sciences from 6 cities of Russia and China: Moscow, Blagoveshchensk, Vladivostok, Zhenzhou (PRC), Chongqing (PRC), Heihe (PRC). The experts highly appreciated the work done and recommended scaling up this experience among teachers in Russia and China, which was done during 3 international scientific conferences "I understand!".

In this article, we rely on the work with Oleg Yankovsky's film "Come see me", presented in the textbook "I understand!".

A NEW LOOK AT DUBBING IN RKI

Any remark and intonation of this remark of each character is the result of a number of events, motivations, goals and conflicts. Blindly copying a remark in the intonation in which it exists in the performance of the artist, the foreign speaker does not comprehend the essence of this intonation and the meaning of the remark, which means that he does not properly understand what he is voicing.

In some scenes, the actor pauses, in others he speaks rapidly; in some he is silent for a long time before saying his line, in others he stumbles over every word or makes mistakes in them. There are psychological motives for all this that require a thorough study. In order to voice a remark organically, to a foreign speaker (just like a native speaker!) we need to figure out what happens in the film in general and with its character in particular, in each scene. This is how professional artists work, and this is how international students who have a goal should work.to voice the movie. It should be noted right away that the dubbed film is not an end in itself. The goal is a voiced film in which each line is uttered with a deep understanding of what it means, why it is pronounced, and why it is pronounced the way it is.

In order to achieve this goal, you need to use the tools that native speakers use, in this case, professional artists.

All over the world, the art of directing and acting is taught according to the Stanislavsky system. Explaining the success of all the outstanding artists of Hollywood and Europe, famous directors and actors traditionally utter the phrase that has become famous: "We all came from Stanislavsky ..." ^{[6, p. 72]} K. S. Stanislavsky's books have been translated into all the leading languages of the world, K. S. Stanislavsky studios operating under his system exist in dozens of countries and at the initiation ceremony for students of theater universities in many countries, applicants still swear to follow the "precepts of Stanislavsky", keeping their hand on his book "The Work of an actor on himself."

By using the term "Stanislavsky's system", we mean its three co-authors.: this is K. S. Stanislavsky himself, this is V. I. Nemirovich–Danchenko, who did not have time to publish his works, but made a significant contribution to the "system"; and this is M. O. Knebel, who systematized the works of K. S. Stanislavsky and V. I. Nemirovich–Danchenko, refined, clarified, improved, explained, commented and introduced the necessary terms She turned all this into a coherent system and put it into practice. It was she who combined the theoretical legacy of the two masters and actually achieved what is now known as a unified academic theatrical methodology.

"In order to just sit on stage (to be in the state of "I am"), a whole system is needed," writes K. S. Stanislavsky ^{[7, p. 444]}. To the same extent, in order to voice a role in a foreign language, you need a whole system in which the sounding word is nothing more than the last link.

Opponents may express doubt about the expediency of foreign students studying the rather complex "Stanislavsky system", since the goal of students is to master the Russian language, not the profession of an actor, and not everyone of them has the talent to do so. Let's turn to the professor of GITIS, director I.L. Reichelgauz, in his textbook he writes: "The Stanislavsky system is the first attempt to create a professional textbook of acting skills, a technological formula for the acting profession, to create and discover the law of acting, according to which a real (ordinary) person can play" ^{[8, p. 50]}.

The last phrase in this statement is the key one. The "system" is an opportunity for every person, regardless of the level and availability of talent, nationality and degree of language proficiency, to reveal the author's intention.

This study is based on the method of effective analysis — K. S. Stanislavsky came to it towards the end of his life, it was the result of all his previous stage and teaching activities. It is the sketch, being the semantic center of effective analysis, that places the actor in the proposed circumstances and makes him really think and act on his own behalf in the situation and context of the scene — and this is exactly what a foreign student needs to comprehend the meaning.

EFFECTIVE ANALYSIS IN THE RCT METHODOLOGY

K. S. Stanislavsky rejected the mechanical memorization of the author's text, he called for a thorough analysis of all the circumstances that gave rise to this text. In academic theatrical methodology, there is a concept of "intelligence intelligence", in the course of "intelligence intelligence" there is a detailed analysis of facts and events. The essence of effective analysis is "body intelligence", or action, when "the actor checks the logic of his behavior in a stage event with all his psychophysics" ^{[9, p. 179]}.

So, an effective analysis is an action analysis. But it was created for the sake of what, in principle, all the methods and techniques existing in the art of the director and actor were invented for — to "appropriate" the role, the text, to make it all "your own". The connection "effective analysis is a sound word" is obvious. Since it is the sounding word that interests us in RCT, which is the main unit of voicing as such, let's turn to this bundle and deduce the pattern of its existence: "effective analysis is the sounding word."

In the textbook "Effective analysis of a play and a role," Professor M. O. Knebel writes: "The methodology of effective analysis of a play and a role leads an actor to the organic sound of a word, that is, to the main task and purpose of performing art. We must not forget that all the material obtained by the actor must be cast in a great-sounding word" ^{[10, pp. 110-111]}.

It is known that in order to accurately sound the author's word, K. S. Stanislavsky demanded at the first stage to completely abandon this author's word.

This practice is called the "etude method of rehearsal" and it consists in the fact that for a certain period of time the director does not allow the actors to learn the text of the role. Thus, he leads them away from formal memorization and forces them to understand the essence of the subtext. "When an actor is deprived of other people's words for a certain period, he has nothing to hide behind and he unwittingly follows the line of action. In his own words, he understands the inseparability of speech from tasks and actions" ^{[10, p. 34]}.

K. S. Stanislavsky proposed to study the character's train of thought so precisely that it would be possible to express these thoughts in his own words. After all, if a person knows exactly what he wants to say, then even without knowing the text, in any case he will be able to say it in his own words, that is, he will be able to express the author's thought in his own words.

Thus, a sketch rehearsal is an accurate reconstruction of a scene in which everything is accurate except the text. Consider one of the final scenes of the movie "Come See me." Irina Kupchenko's heroine looks out of her apartment window from the street, does not see her mother in it, throws a bag of gifts on the ground and runs into the house. She looks everywhere for her mother, who calmly comes out to her and asks why her daughter has returned. If you don't know the whole background, all the proposed circumstances, events, and biographies of the heroines, then it's simply impossible to play or voice this scene. More precisely, it is possible, but it will look ridiculous, it will cause distrust and laughter of the audience. There are two big differences when a mother casually asks her daughter, "Why did you come back? Has anything happened?" ^{[5, p. 370]} and when this question is asked by a mother who is standing on her own two feet after 30 years in a wheelchair. The intonation of this question gives a fundamentally important characteristic of the mother and causes a very definite reaction from the daughter. The daughter is shocked, she is afraid that the mother may fall, she understands that from this day on, her life will not be the same, and all these thoughts combined give rise to the following phrase. In the case of etude rehearsal, it is a very logical phrase, but often unexpected. It may even be an inappropriate phrase like "Did the neighbor return the salt?" at first glance, but it will emphasize the condition of the daughter, who is afraid of "scaring off" happiness and wants to turn the pathos of the situation into a familiar routine, to which she and her mother are so used. At the same time, it is quite obvious that a phrase like "Hooray, Mom, how happy I am that you are walking again!" is absolutely inappropriate; if a student suggests it, it means that he did not understand anything about either the heroine or their relationship with their mother.

The sketch method is a treasure trove for artists and directors, but it is even more so a treasure trove for working with foreigners, because it provokes them to a spontaneous narrative — the most difficult and not universally accessible skill that takes foreign speakers to a new level of foreign language proficiency. The spontaneous narrative in this case is complicated by factors such as age, profession, character of the character and the peculiarities of his speech.

For example, in the film "Come and See Me," the speech of Sofia Ivanovna and her daughter Tatiana is literary, correct, and replete with words of "high style." Igor's speech is typical of a businessman of the 1990s, but with notes of not completely forgotten intelligence; the speech of the saleswoman Dina is full of jargon and colloquial words. All this needs to be understood and taken into account during the creation of the study, you need to have a sufficient vocabulary and be able to build synonymous rows according to the styles of speech. The training of these skills in etude rehearsals takes place efficiently and effectively.

Working with the sketchy method puts the student in a situation where he replaces the author's words with his own words, but necessarily retains the author's thoughts. This is incredibly difficult for a foreign speaker, but it also incredibly develops and deepens the understanding of the meaning of what is happening, the inner form and relevance of the use of each word.

The purpose of the sketch is to bring the actor as close as possible to the author's thoughts and text. "Therefore, when an actor turns to the author's text after sketchy rehearsals, he greedily absorbs the words with which the author expressed his thought. Comparing the author's vocabulary with his own just-spoken text, he begins to understand all his mistakes against the author's manner of expressing his thought" ^{[10, p. 66]}.

The student should know the reasons that led the author to construct the phrase in a certain way. And if, during a sketch rehearsal, he has internalized the thoughts that dictated a particular phrase, he will find dozens more ways to express this thought and understand the value and weight of the author's thought, taken as a standard.

According to K. S. Stanislavsky's idea, at the beginning of the work, the author's words are needed solely for the cognition of the thoughts inherent in the author's text. After going through each scene by the method of sketch rehearsals, students come to the author's text anew, with a full understanding of why the hero speaks the way he does, and how this phrase should be pronounced — with pauses, hurriedly or indifferently.

Given that in our case we are talking about people for whom Russian is not their native language, it is advisable to add another stage to the sketch rehearsal — this is a study without words. In other words, the most effective model of etude rehearsal for foreign speakers looks like this:

1. Reconstruction of a scene without words

2. Reconstruction of the scene in your own words

3. Reconstruction of the scene with the words of the author.

Thus, the student masters all the inner motives of the actor, plays the sketch only with "action", then selects appropriate words for these actions, after which he realizes the meaning and relevance of the author's words.

The validity of our proposal is evidenced by the fact that the world-famous English director P. Brooke often consciously recruited artists from different countries so that they would not understand each other in speech, and forced them to play without hiding behind the text, provoking each other to show real feelings. In fact, this is the first stage of the wordless study. With the difference that in our case, the wordless stage is the key to a successful verbal study, and at the exit, a successful and accurate voicing of the scene in the words of the author.

EFFECTIVE ANALYSIS: RECOMMENDATIONS FOR ACTION

In order to proceed to effective analysis by means of sketches with an improvised text, it is necessary to do a lot of preliminary work of in-depth recognition of the play at the table, that is, to carry out in the initial period the very work that K. S. Stanislavsky called "intelligence intelligence" ^{[11, p. 249]}.

Let's focus on several key points in the analysis of the material according to the canons of academic theatrical methodology, which are most important for a foreign speaker and which will help him in an effective analysis: the proposed circumstances, events, the super-task and the line of the role, in which we especially highlight the background and inner monologue.

Let's look at each of these points and provide options for tasks that will help students analyze the work.

The proposed circumstances. These are the epoch, time and place of action, living conditions, facts. For example, the suggested circumstances of the film "Come see Me": the late 1990s–early 2000s, an old apartment in a Stalinist house with Soviet–style furnishings; a wheelchair–bound mother, the absence of a TV in the apartment (these two facts indicate that the mother lives in the Soviet past and has no idea she doesn't know what's going on in the street, but she's quite happy with it), the daughter is an old maid who has never been married and has no children, every evening mother and daughter read aloud Dickens novels.

The proposed circumstances are based on a careful assessment of the facts, and this point should be given sufficient attention, because it is much more difficult for a foreign speaker than for a native speaker: these are the peculiarities of mentality, the peculiarities of certain historical periods concerning the country of the language being studied, and phenomena that may be incomprehensible to a foreign speaker because they are not peculiar to his country. and his language (for example, the scene in which Sofia Ivanovna blesses Tatiana and Igor, but not with an icon, but with a portrait of Dickens).

event. An event always changes the hero's behavior. In other words, an event is a change of task. K. S. Stanislavsky insisted that the actors learn to analyze the play by major events. We make the same requirement for international students. The easiest way to determine the significance of an event is to try to remove it and imagine what would have happened if this event had not happened. Students can be asked to "decompose" their lives into events and determine which of the events are large, which are medium, which are small, and which cannot be called an event at all. What events have completely changed your life, attitude, and behavior. However, the key point in determining the major events of a film is that "a major event is revealed correctly when it is the same for all the characters" ^{[11, p. 275]}. This both complicates and simplifies the task at the same time.

Another task for determining the event and its degree of importance is the task of replacing the event/replica. Students are offered a scene from a movie. Question: which one word in the character's line (one phrase / one action) needs to be changed so that the scene completely changes, proceeds with completely different intonations, in a different key and has a different outcome.

THE SUPER TASK ^{[12, p. 325]}. A super task is the main goal that attracts all tasks without exception. Every character has a super task — for a few minutes, for a month, for a year, for several years, and for a lifetime. The ultimate goal for life in academic theater methodology is called the "ultimate goal," and it is precisely to this goal that all scenes and the actual line of the role are subordinated.

Defining the super—task of each character is extremely difficult and important in teaching foreigners, because it allows non-Russian speakers to understand all the components of each scene, so it is better if this "search" takes place in the classroom with the teacher and the participation of all students.

If the super task is defined correctly, then students receive the most important tool, the key to their role — the pattern by which they will exist in each scene. But in order to understand how accurately the super task is defined, it is worthwhile to perform the following exercise: the student is asked to set a directing task that will radically change the chain of subsequent events and the overall outcome of the film.

For example, the director sets the task for the performer of the role of Tatiana — to please Igor, then her super task is obvious — to marry Igor and live happily ever after with him. In this case, the whole chain of events will break and will not be the same as it is in the movie "Come See Me": Tatiana will not kick Igor out the door, will not bring a fake daughter, Dina, into the house, will not allow any actions or harsh words that led to a slap in the face. This means that Tatiana's super—task is completely different - that's why she doesn't draw herself in, doesn't try to please, and behaves quite independently (intonation is appropriate!). Tatiana's super task is to make sure that her dying mother dies happy, create an illusion of happiness and a full cup for her mother, and by hook or by crook, make her mother believe in this illusion. If you go through each scene with this "pattern", it becomes quite obvious that it was found correctly and that if you "cut" each scene according to this pattern, the result will be the "desired product".

THE ROLE LINE. Telling the story of your role is one of the most difficult tasks not only for foreign students, but also for native–speaking artists. This can be done when there is already a clear understanding of the whole story, of all the characters individually and in combination, when all the facts are evaluated, all the key events are identified and the proposed circumstances are derived, when even the most incomprehensible actions are understandable, and the student knows everything and even more about his character.

The key concepts proposed by V. I. Nemirovich–Danchenko are "second plan" and "inner monologue". "The background is the inner, spiritual "baggage" of the man–hero, with whom he comes to the play" ^{[10, p. 84]}. It consists of the totality of the character's life impressions, his habits, tastes, from all the circumstances of his fate, from feelings, likes and dislikes, feelings and thoughts —personal, hidden, unknown to anyone.

In this regard, the heading "Let's fantasize" was included in the textbook "I understand!". Students are asked, for example, to come up with a biography of Igor: "Where was he born? Who are his parents? How did he live before he met Tanya?" ^{[5, p. 404]}.

There may be many more questions, they may be more specific and more complex. And the more unexpected they are, the more difficult it is to find answers to them and the more accurate the character will be. For example, "What books does your character love?", "How much money did he spend yesterday and on what?", "Describe an episode from his life that he is proud of?", "What is he most ashamed of in life?", "What does he want to get for his birthday?", "Describe the happiest day of his life", "What's on his bedside table?", etc.

"The fate of the role, its success, lies in the most accurate knowledge of the hero's life in all its manifestations. As in life, you need to start with a biography. (...) A fantasy biography is useful when it is directed into a plan and can be used in action" ^{[13, p. 35]}.

A more effective way to "fantasize" a biography is to create a social media account for your character and keep it, for example, for a week. Students who receive such an assignment "get closer" to their character. The character's page should contain posts on his behalf, photos that the character could take, comments, and responses to them. There may be notes about real events that took place during the week — in the area where the character lives, in the city, the country or the world. It is most effective if each character has an account and if they intersect in the virtual space. Every little thing, every detail, intonation, features of speech, selected topics and stylistics of texts matter here.

In the classroom, there is a "review" of everything done and published by each student. Why would this particular topic interest your character? Why exactly did he answer this question in the comments and why is it logical that he ignored this commentator? How did you respond to rudeness, praise, and admiration? Is he showing himself in the photo, or anything but himself? Every detail matters.

Creating an "internal monologue" will help both account management and in general, in order to get used to your character. This term was introduced by V. I. Nemirovich–Danchenko ^{[14, p. 174]}, he emphasized that what to say depends on the text, and "how to say" depends on the inner monologue: "We know that thoughts spoken aloud are only a part of those thoughts that arise in a person's mind. Many of them are not pronounced, and the more concise the phrase caused by big thoughts, the richer it is, the stronger it is" ^{[10, p. 90]}.

Any uttered remark is preceded by a thought process that consists of events, circumstances, feelings, thoughts, likes and dislikes. If the student has already understood what is happening with his character and around him, it will not be difficult for him to preface each voiced remark with an "inner monologue". On the one hand, it will give an accurate intonation, an accurate inner feeling during voicing, on the other hand, it will develop the skill of expressing your thoughts on paper, taking into account all the characteristics of the character, his style and the peculiarities of his speech.

If you compile the last two tasks, but the most optimal exercise is to turn an internal monologue into a publication. This is not as simple as it may seem at first glance, because an internal monologue is the most intimate thing that no one hears or knows, and publication on a social network differs from it in terms of the degree of frankness in any case. How and how it differs is that it is not an easy task to select from a "real" internal monologue for a public text, but it is by doing it that the teacher becomes clear whether the student is ready for voicing.

Effective analysis implies the maximum "inclusion" of students in the material, an increased level of attentiveness and observation. An important point: "The inner state of a person, his thoughts, desires, relationships should be expressed both in words and in certain physical behavior" ^{[10, p. 28]}

This or that action or gesture can say a lot. The ability to capture and decipher the plasticity of a character or person will help a foreigner with the answer to the main questions, which also lie in the plane of the mentality of the country of the language being studied.

Director V.E. Meyerhold wrote about the real director as follows: "He gives the artists such plasticity, such movements and poses that would give the viewer the opportunity to penetrate their inner feelings. That is, he finds a plastic that corresponds to the inner feelings of the hero, but does not correspond to his words" ^{[15, pp. 34-35]}.

In order for students to be able to read this, we propose the following task: to show students a scene from a movie without sound. Their task is to use gestures, movements, and facial expressions to determine what is happening in the scene, how the characters feel, and what state they are in. After that, they voice the scene. It can be absolutely any topic — it is important that students can explain why they decided to voice the scene on this particular topic; who the characters in the frame are to each other and what the conflict is.

For example, a scene from the movie "Come to see me", where Igor comes to the house of Tatiana and Sofia Ivanovna the next morning after meeting. Tatiana looks great, she has cooked a lot of dishes, however, judging by her sudden movements, facial expressions, and the fact that she is nervous and looking at her watch, it becomes obvious that something is wrong. Students can come up with dozens of versions of what is happening and hundreds of dubbing options, but the main thing is that they must "count" the emotions of the characters, capture the nerve and spring of this scene, so that when it is necessary to re—sound this scene in reality, according to the plot of the film, the accuracy of their existence will be one hundred percent.

A similar task is to leave only one character's lines, in this case the student's task is to complete the dialogue based on everything the student sees on the screen. On the one hand, this task is simpler than the previous one: at least you can guess what the dialogue is about and in some cases even understand the subtext. But on the other hand, it forces the student to exist within the framework of a given topic and given phrases, which means that he needs to maintain his style, speech patterns, and quickly navigate the situation. This is a great preparation for the spontaneous narrative that can happen to a student in real life.

If students are given the same task, but after watching the scene in real sound, this turns the task of observation and spontaneous narrative into a task of conflict retention. Students already know what's going on, who's angry and why, or vice versa, and project conflict into other possible situations. This is a different kind of task, but no less useful: conflict recognition and modeling.

CONTEXT AND SUBTEXT

After an effective analysis, students have a complete understanding of who really wants what, who is at odds with whom, and why they do it the way they do it. "Actually" in this case is a key expression, because in real life and in real drama, a person's thoughts, actions and words rarely coincide, and revealing the subtext and true meaning of what was said is a prerequisite for the student voicing the role. This is an axiom in Stanislavsky's system, Konstantin Sergeevich came to the conclusion that the main danger that lies in wait for an actor on the way to organic action on stage is a straightforward approach to the author's text. "The line of the role follows the subtext, not the text itself" ^{[10, p. 33]}.

That is, what a person says is the last in a series of things that happen to them, and it is not always straightforward, often the opposite. People are not so unambiguous and literal — in real life, and even more so in the movies. "A person often thinks one thing, feels another, does a third, says a fourth. And he also knows the fifth, he provokes the sixth, he is motivated by the seventh" ^{[8, pp. 163-164]}.

For example, in one of the scenes of the movie "Come see me" there is such a dialogue after a phone call:

igor. Don't pick up the phone! It's for me!

tanya. I'm sorry, but sometimes they call me here!

igor. Sorry.

tanya. Hold it, please. (On the phone) I'm listening. Oh, bunny! Yes, kitty, I'll call you now. I'm already handing the mouse the phone to him. Hello, hedgehog. ^{[5, p. 257]}

If we analyze this dialogue according to the scheme: "What does a person think? — What does a person do? — What does a person feel? — What is the person talking about?", then it becomes obvious that it is contraindicated to pronounce these lines the way a person who is out of context would pronounce them.

The remark "I'm sorry, they sometimes call me here" is not really "apologetic", but rude and putting a person in his place: the heroine is at home, and only the owner can be called on the landline phone in the house. With her remark, Tatiana emphasizes that Igor has crossed the boundaries of her hospitality. However, she does not say "This is my house, step back!", she utters a phrase full of hidden irony and even sarcasm, and Igor reads it. At first glance, Tatiana is outraged and wants to put the guest in his place, but this is an incorrect assessment. Tatiana wants to make Igor's girlfriend jealous. And she can do it in a lot of ways, saying whatever she wants over the phone. But she chooses the most sophisticated way: she calls the girl all the affectionate names that Igor called her on the phone ten minutes ago, writing on the move that she was late at a meeting. This is a much more accurate blow to the opponent, because by doing so, Tatiana emphasizes that she was freely present during the intimate conversation between Igor and his girlfriend; that she knows about the deception and, moreover, is the reason for this deception — Tatiana wants the girl calling on the phone to understand this. That is, she demonstrates her superiority to the caller in the most sophisticated ways.

Thus, the chain of answers to the key questions is as follows. Tatiana is jealous of Igor's girlfriend. She thinks that if she gets rid of a competitor, Igor will take his time and she will be able to pull off a "plan to save mom." And then it's completely obvious what Tatiana is doing in a short monologue about bunnies and hedgehogs: she's taking Igor away from his girlfriend. It is extremely difficult to turn a foreign student from thinking "what am I saying here" to thinking "what am I doing here" ^{[11, p. 256]}, as well as an actor, but this is the basis for revealing the subtext.

conclusion

People's Artist of the USSR F. G. Ranevskaya repeated in all her memoirs and interviews that she never learned the words of a role, but memorized it when she already lived the life of a character and knew everything about him that one person can know about another. Dozens of other famous artists did the same, and this fact once again underlines the importance of the sketchy method and the attitude to the word as a result of the mass of factors that gave rise to it.

If in the initial periods of his work K. S. Stanislavsky often asked the actors the question: "What do you want in this episode?", then later Stanislavsky posed the question differently: "What would you do if this and that happened?" ^{[10, p. 43]}.

The right intonation in each voiced remark can appear only when the artist (in our case, a foreign language student) knows absolutely everything about his character, even what the author did not write. That is, if he can answer three key questions before each remark.:

1) What am I doing?

2) Why am I doing this?

3) What would I do if?

Effective analysis and the etude method itself have not been used in working with foreign students before, but the work on the author's program "I understand!" gives reason to assert that this is no less suitable method for foreign speakers of the B1–B2 level than for professional native artists. Inophones not only gain a true understanding of what they have seen, based on an understanding of the nature of the conflict of each scene, the proposed circumstances, the psychology of the characters' relationships, their characters, motives, and super—tasks, they acquire the ability to put themselves in the place of the actor and voice the role based on this understanding, rather than by copying the intonation of a native artist.

The integration of effective analysis and its main component, the etude method, into the practice of RCT has serious prospects. In the framework of this study, we verified the hypothesis that effective analysis adopted in academic theater methodology can be an effective means of teaching Russian as a foreign language, and the method of dubbing feature films by non-native speakers, provided that the Stanislavsky system is used competently, selectively, and methodologically, expands the modern understanding of audiovisual and audio-linguistic methods of Russian language translation. its application in higher school settings with foreign speakers of the B1–B2 level and the replacement of the concept of "mechanical copying of sounding speech" with "conscious voicing". It is obvious that the etude method opens up growth points for foreign speakers, allowing them to penetrate into the inner form of language, comprehend it at a qualitatively new level; and develops one of the most difficult skills — the skill of spontaneous narrative in the proposed circumstances, contributing to the rapid exit of foreign students from the B1-B2 level to the C1–C2 level.