Actor and the sense of speech “freedom” on stage and on the screen

The subject of this research is the actor and the sense of speech “freedom” on stage and on the screen – the culture of speechification on stage and on the screen. The article raised a number of interesting questions – theatrical character, development of acting abilities depending on the type of cinematography. The author’s observations regarding speech differences in speech in movies and on stage and remarkable. Giving close attention to the use of speech elements in cinematography, the author claims that speech “impulsivities” must merge with the fixed frame. The questions of using silence in cinematography and theatre, as well as differences in its application in other spheres of art are reviewed. The conclusion is made that unlike stage actors, the diversity of voice, elocution, pace and rhythm skills of live action actors manifests functions by different laws of internal process. It is stated that speech score of stage actors is a conditionally fixed phenomenon, since stage performance is a living organism, while in cinematography, speech is more static, namely because of the do-overs and adaptation to the result desired by film director. It is underline that speech of the stage actor is strongly subordinated to rhythmic score set by text of the author, stage director, and even scenic and biological rhythms of the partner. Unlike cinematography, onstage speech is not a constant.