Санъат ва маданият Ахборотномаси 2-нөмір (2025) · 65-67-беттер
TALABA – AKTYORNING KAMERA OLDIDA ISHLASH JARAYONIDAGI MUAMMOLAR
Eldor, Xushvaqtov, Eldor, Xushvaqtov, Eldor, Xushvaqtov, Eldor, Xushvaqtov
Аңдатпа
This article examines the history of the development of Uzbek cinema and film acting,its unique features, and its alignment with the times. It discusses the art of film acting and its mastery,emphasizing the importance of an actor’s ability to express emotions and movements in front of the camera,as well as the significance of feeling the “salobat of the camera”. The article also specifically addresses K.S.Stanislavski’s acting method and its influence on cinema. Additionally, the article reflects on the actor’spreparation for a role, the importance of both internal and external preparation, and the necessity ofpossessing specific details and specialized knowledge related to the profession. The differences betweentheater and cinema, the process of working on a role, and the correctness of its execution are also explored indepth.
uzbek cinemafilm actingacting masteryacting schoolcameraemotionsmovementcamera authorityK.S.Stanislavskiactor preparation
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