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but the mood, the penetrating reality; somethingexciting, intoxicating, seductive, tangy work of art andenveloping the consciousness of the magical mist. The actor even more than othersthe servants of art, it is the ability to infect, worry,enchant. Between work poetry and the public actor is set, a magician, as a magician, as a medium. It must first merge with a poeticfiction, to to their experience, their excitement, their ecstasy to convincethe audience force her to accept the illusion and revel in it" (Kugel A. R.Theatrical portraits. -- PG.-M., 1923. P. 25-26). So we have a new semiotic hypothesis, leading tothe equivalence of the actor and channel of communication, where should the nextstep semiotic nature of the actor. Semioticist lies in the facthow does the actor. "Acting talent is not so much the giftreincarnation, which is not always the case, as in the ability to giveartistic pattern. If you are familiar with the artists-illustrators, theprobably drew attention to the fact that an artist rises head andthe figures resemble one another, but by themselves wonderful, breathe art andimbued with a unique sense of style" (Ibid.P. 129). A. Kugel traces certain laws of symmetry incommunication, labeling them as the beat. "What is tact? It's instinctive -- a sense of balance. Tact does not mean that person is always helpfulsoglashatel, etc. -- Tact is rudeness where rudeness is most appropriate;tenderness when it's needed; posture, when it is needed. This -- acting inhigher, i.e. the everyday sense of the word" (A. R. Kugel Profiles theatre. --M., 1929. P.174).
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