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The purpose of the work is to highlight and provide a theoretical justification of the means and techniques of ideological and emotional expressiveness in the stage formation of monologues of the theatre of one actor. The research methodology consists in the application of the comparative method for the holistic analysis of means and reception of ideological and emotional expressiveness in monologues, the determination of the dominant categories of stage action, the complementarity of verbal and physical action in the stage embodiment of these forms; the art method for understanding the artistic and creative activity of the theatre of one actor, its artistic significance, the realisation of original directorial and acting ideas, demand in modern theatre practices and understanding of the genre plan of actions, their characteristic features; a systematic method for analysing the algorithm of the performer's order of actions, the universal balance of the system of the creators' implementation of the discrete process of forming a one-man show with the help of the necessary skills and abilities to achieve a certain ideological and emotional solution; modelling method for researching means of ideological and emotional expressiveness, their complementarity in various ways of modelling stage orientation regarding the choice of means and techniques of artistic artistry of role-playing material; of the functional method for substantiating the characteristic means of creating a stage image of the protagonist of the role in various genres of monologues. The novelty of the study consists in a comprehensive approach to the analysis of the professional competences of a theatre artist of one actor, the degree of his qualifying artistic capabilities and means of ideological and emotional expressiveness in monologues, their complementarity in the stage formation of the action. Conclusions. Therefore, the performer of the theatre of one actor must possess universal artistry, the high technique of a professional as a master of plastic, verbal, multifaceted techniques of theatrical effectiveness, who is subject to all the techniques and means of stage expressiveness, manners, and motivations of figurative theatrical play, the complementarity of the proposed circumstances of the production, directorial decisions on the scale of the stage space and time, the atmosphere of the action for the ideologically integral formation of a stage high-art work. In general, a one-actor theatre artist should be a role model of a highly qualified play theatre professional.
Tetyana Nechayenko (Tue,) studied this question.