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

The article presents the possibilities of integrating the effective analysis adopted in academic theatrical methodology and its main component – the etude method – into the practice of RCT. The author offers a qualitatively new level of dubbing of feature films and cartoons by foreign speakers, 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. These provisions have become the subject of research of the author's program "I understand!", which has been tested in 6 universities in Russia and China. The article presents the algorithms of the program, as well as options for tasks and analysis using the example of Oleg Yankovsky's film based on Nadezhda Ptushkina's play "Come See Me", considered in the textbook "I Understand!". This article discusses the possibilities of applying the basic provisions of the Stanislavsky system in the lessons of Russian as a foreign language in the course of working with foreign students at the B1–B2 level on the dubbing of feature films and cartoons. It is based on the invention of K. S. Stanislavsky in the last years of his life – an etude method on which an effective analysis of dramatic material is based. The scientific novelty of the study lies in verifying the hypothesis that an effective analysis adopted in academic theatrical methodology can be an effective means of teaching Russian as a foreign language, and the technique of dubbing feature films and cartoons by foreign speakers, provided competent, selective, methodically justified application of the Stanislavsky system, expands the modern understanding of audiovisual and audio-linguistic methods of RCT the possibility of its application in the conditions of higher education with foreign speakers of the B1–B2 level and the replacement of the concept of "mechanical copying of sounding speech" with "conscious voicing". As a practical result, the understanding of "how to sound" is born in a foreign speaker not in connection with the characteristic of how the artist speaks that is already available as a standard, but in connection with why he speaks that way.