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[pb8298]

Dear Sirs.
The teachers of Byelorussian Academy of Art would be grateful to hear your
professional opinion on the methods of development of musical skills,
rhythmics and expressiveness of actors. which were worked out at our
Academy,
Your specialists are widely known for their indisputably high level of
teaching. That is why any of your comments would be highly appreciated.
Herewith we are sending you a video cassette (30 min) that contains
fragments of concluding lessons which present the basic aspects of the
method.
The concluding lessons take place at the end of each term,
During the first two terms we concentrate on the development of motional
and vocal coordination on the basis of musical and rhythmical material,
During the second two terms we pay particular attention to the development
of musical and vocal improvisation,
In case you are interested in our teaching methods we should be glad to
provide you with more information on the above,
We are also prepared to discuss it with you in more details at your
convenience. We look forward to hearing from you. .Sincerely yours,
Alexandra Sandler
Gennady Fomin


If you are interested with a practical outcome of our work and you are
ready to inform us the judgement, inform please by fax (0172) 340-200
Republics Byelarussia, city Minsk
Or
E-mai: pb8298@ belsonet.net
We shall send the cassete of a video.







Musical - rhythmical training /MRT/ of dramatic actors
General principles of the method.
The MRT is aimed at development of the next co - ordination types of
psychiatrical organs:
 auditory - vocal; auditory - motor; auditory - playing
 auditory - emotional; auditory - /figurative/ spatial
 auditory - atmospheric.
Besides the MRT is aimed to develop expressiveness of voice and body and to
form skills of an ensemble life. The method is combination of the
traditional assimilating musical knowledge and its incarnation with playing
theatrical means. This aim is achieved with a system of exercises, which
are based on the assimilated musical material frome asy to more difficult.
Conditions of exercises demand for their realization a spontaneous and
improvised application of that or this musical means /a metre, time, rhythm
etc./. The exercises are formed in succession: from a clear technical exact
realization to creation of atmosphere, image and figurative pictures.
During assimilation general skills /one academic year with a traditional
quantity of lessons according to an educational program/ their using is
aimed at development of skills of a vocal improvisation. And it's the
strongest factor opening creative making of a student
The principles of drawing into a musical gist of theatrical skills is the
principle of  "up striking". The play primitive musical means demands
intensification of one or some "simple" psychiatrical processes.
The first exercises demand attention to the co-ordination of actions with
partner's actions and co- ordination the inner attention with the retention
of a simple tempo or primitive rhythmical means get complicated which are
very needed for realization of exercises using these means in playing,
improvised conditions. It "requires" an oftener "attaching" of
psychiatrical organs elements: from concentration, an elementary, motive
and vocal co-ordination to a complicated because of its components process
of "living". It means a living reaction of the whole psychophysical organs.











Review
an educational program worked out by A. Sandler and G. Fomin "A musical
plastic education of an actor."
Since 1991 A. Sandler and G. Fomin have created and tested their musical -
plastic educational system of an actor at the theatrical faculty of the
Byelorussian Academy of Arts. To my mind, this system substituted the
discipline "on duty" "A musical rhythmical education", which was used
earlier and was, in my opinion, scholastic enough.
Also, a new subject appeared. This system is more capacious and various
according to purposes and means of their achievement.
Sandler has got a great experience of work with students as an accompanist,
a pedagogue on vocal, a composer and a music arranger, for plan and
independent student's works for a long time. G. Fomin is a pedagogue who
always uses in his work an experience of an actor and a producer and his
special skills to create a plastic picture of a role, an extract, a play.
The teachers understand, supplement and enrich each other very well. I
think, thanks a successful combination of their skills and qualities
appeared and developes a new interesting method of actor's training, which
is based on musicstudyng and mastering of musical and rhythmical
structures. Pupils invent, compose songs, though on a "childish" level,
rhythmical and musical fragments on the found or written poems and topics.
Exercises and topics are written using an obligatoly actor's nature,
fantasy, the plastic body, speaking,
vocal. And, in my opinion, it's the most valuable that everything happenes
in the athmosphere of playing, in genre of a good organized improvisation.
E. The system of exercises, which was worked out by Sandler and Fomin, can
be very fruitful at training of a modem "today"  actor.
Assistant professor of the department "Mastery of an actor and producing "
Arts leader of the
Byelorussian Theatre of a Young Spectator
A.F. Androsik



Reference on the work by A. Sandler and G. Fomin, pedagogues of the
Byelorussian Arts Academy.
Sandler and G. Fomin have worked at the Byelorussian Arts Academy at the
theatrical faculty as pedagogues of the discipline "Musical   rhythmical
education" since 1993 with a profession "An actor of a dramatic theatre and
films". In my opinion, they have managed to work out for a work period at
the theatrical faculty their own, original, methodical and methodological
approach to solving of problems to develop musical abilities of students.
This unordinary approach lets lay in a playing, improvised form skills of
intercourse, attention, concentration and a group interaction and, that is
very important, make more active imagination, an emotional actor's memory
and other creative skills.
Results of a joint work by A. Sandler and G. Fomin in this direction let
conclude, that students of the Academy after such a musical - rhythmical
training master possibility to use a rhythmical and musical material easy
and they feel it subtly. They are able to express and reflect it with
speaking /a dialogue, a monologue/ and plastically, emotionally. These
lessons are extraordinarily useful for students with a mediocre natural
level of musicality because improvement of student's talent for reacting to
a musical material is to be observed in a definite space of time of
training, undoubtedly within the limits of individual abilities. And for
more gifted with a good ear for music and a musical co-ordination students
these studies sometimes open possibility of appearance on complicated
musical - improvised thing!;. It's very important, unusual and unique for a
theatrical school and for future of a creator.
A. Sandler has worked at the Academy more than 15 years as an accompanist
of the highest category and a pedagogue of musical disciplines. She is
creative and always looks for new methodological possibilities in education
of a creative personality.
G. Fomin is a graduating student of the Byelorussian Academy of Arts and
has got a profession of a theatrical and film actor. He is an actor with
practice and is engaged in a pedagogical work on the Academyleadership's
invitation. A creative and educational alliance of A. Sandler and G. Fomin
is perspective and unique in our training practice of creative
personalities, I think.
I recommend in a wide practice with a great satisfaction and feeling of
responsibility these methods of a musical and rhythmical development as the
method, developing musical -rhythmical abilities of students and as a
special professional training of creative personalities.
Dean of the theatrical faculty of the Byelorussian Arts Academy,
Honoured Artist of Belarus, Assistant Professor
Y. A. Mishchanchuk





CURRICULUM VITAE

Sandler Aleksandra


Street M. Bogdnovitcha ,The house © 25, Apartment 20, city Minsk,
Byelorussia.220029

Was born in 1960 in Moscow .

Education:

In 1978 has finished special musical school at a Byelorussian state
conservatoire.
In 1984 graduate with a first-class honours degree from  a Byelorussian
state conservatoire on a speciality the "Theory of music" .
Since 1980 works in Byelorussian Academy of arts as an accompanist, teacher
of musical disciplines, history of musical art. Is the author of music and
arrangement for five degree performances.
In 1995 has finished courses of studies  on "Improvisation" at institute of
Problems of culture.
 She is married.
Has two children: the son 11 years, daughter 3 years.














CURRICULUM VITAE


Personal data

Name:                   Fomin Genadi
Nationality:            Jew
Date of Birth:          December 3,1961
Marital status:          married

Home address:           20, Bogdanovich street 25 , 220029 Minsk, Byelarus

Telephone:              (0172)34 02 00


 Education

1994 - ...              St.- Petersburg East European Institute of   Psychoanalysis
current enrolment ( 3d-year ) in the above Institute where I major in
Psychoanalysis-oriented cultural studies .



1991                     Academy of Art and Theatre
                                    Diploma 063002
                                   Professional theatre and cinema actor
1983 - 1993             Belarus Polytechnic Academy
                       Diploma  201893
                       Semiconductor and microelectronic instruments

Languages:              Russian (mother tongue),
                        French (satisfactory),
                                Byelorussian  (fluent).




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