Obstacles in the creative process of an actor - from the encounter with text to the encounter with audience

Ovaj diplomski rad bavi se različitim blokadama i preprekama s kojima se glumac susreće u procesu rada na nekom materijalu – od prvog susreta s tekstom do igranja pred publikom. U pisanom dijelu diplomskog ispita istražujem na koje potencijalne poteškoće glumac mora biti spreman odgovoriti kako bi njegova izvedba bila organska, autorska i autohtona. U ovom radu pozivam se većinski na teorijska promišljanja Davida Mameta, Williama Espera i Branka Gavelle. Također, koristila sam i radove Stelle Adler, Konstantina S. Stanislavskog, Lee Strasberga i Denisa Diderota. Referirat ću se i na vlastito iskustvo studiranja na Akademiji dramske umjetnosti pri Sveučilištu u Zagrebu. Tvrdnje koje iznosim potkrijepit ću i komentarima svojih ispita koje sam, u svrhu pisanja ovog diplomskog rada, ponovno gledala i analizirala. Dakle, analizirat ću pojedine procese rada, prepreke s kojima sam se susrela i način na koji mislim da su utjecale na samu izvedbu.This master thesis goes in for different blockades and obstacles which actor encounters during the process of working on some material – from the first encounter with text to playing in front of the audience2. In the written part of my master thesis I explore to which potential difficulties an actor must be prepared to respond in order to make his performance organic, authorial and indigenous. In this paper I mostly refer to theoretical considerations of David Mamet, William Esper and Branko Gavella. I used works of Stella Adler, Konstantin S. Stanislavski, Lee Strasberg and Denis Diderot as well. I will be referring to my own study experience at the Academy of dramatic art at the University of Zagreb. The claims I make will be corroborated with comments of my own exams which I, in order to write this master thesis, watched and analyzed. Therefore, I will analyze several work processes, obstacles which I had encountered and the way they affected the final performance