Pojam glumačke akcije kroz teoriju i praksu

U ovom diplomskom radu bavim se problemom preciznog definiranja glumačke akcije, odnosno svega onoga što bi glumac morao činiti kako bi njegova priprema u procesu proba i konačna izvedba na sceni imale čvrste temelje. Nadalje, ovim radom pokušavam odgovoriti na pitanje „Na što glumac mora staviti fokus kako bi u svakom trenutku svojeg djelovanja bio svjestan toga što radi, kako to radi i zašto to radi?“. Također, adresiram problem odnosa teorijskog i praktičnog u glumačkoj pedagogiji. Na temelju vlastitog iskustva petogodišnjeg studiranja glume na Akademiji dramske umjetnosti Sveučilišta u Zagrebu i različitih teorijsko-praktičnih promišljanja Branka Gavelle, Cicely Berry, Konstantina Sergejeviča Stanislavskog, Davida Mameta i drugih stavljam naglasak na nužnost egzaktnosti, preciznosti i konkretnosti u školovanju mladih glumaca kako bi se njihovo autorstvo, jedan od najvažnijih elemenata glumačke umjetnosti, moglo ostvariti u punom potencijalu.In this master thesis, I engage in a problem of defining what actor's action precisely is or what an actor has to do in order to ensure that his preparation in the rehearsal process and his final performance on the stage have solid grounds. Moreover, I am trying to present the answer to a question „What should the actor put his focus on in order to be aware of what, how and why he is doing what he is doing in every moment of his activity?“ Also, I adress the problem of the relations between theoretical and practical in acting pedagogy. Based on my own experience of studying acting for five years on the Academy of Dramatic Art, University of Zagreb and on various theoretical and practical thinkings of Branko Gavella, Cicely Berry, Konstantin Stanislavski, David Mamet and others, I emphasize the necessity of exactness, precision and concreteness in young actor's education so that their authorship, which is one of the most important elements of the art of acting, could be achieved in its full potential