Lykova, T.A.

Background. The theoretical significance of the work is determined by the lack of research on small project groups. The practical significance is determined by the need to identify factors of effective interaction in conditions of intense creative activity in the context of the modern film production system. Studying the specifics of intra-group relations in a film crew can contribute to more effective interaction between team members, reduce conflicts and increase overall productivity on the set.

Objective. The goal is to study the peculiarities of intragroup relations in film crews, as well as to identify personal qualities characteristic of leaders in these groups.

Study Participants. 60 members of creative film crews from five different projects took part in the study.

Methods. To study intragroup relations, we used the technique "Sociometry", which included 12 questions concerning professional cooperation, interpersonal relations, and organizational abilities. The Kettell 16 PF questionnaire was used to diagnose personality traits.

Results. The specifics of the choice of leaders and outsiders in film groups, as well as the main personal characteristics of group members who are referred to these categories, are revealed. It is shown that in the sphere of professional relations and organizational abilities the leaders were the actual group leaders, while the outsiders were the representatives of different status and professional workshops. The personal profile of leaders is characterized by marked emotional sensitivity. The main difference between leaders and outsiders is related to the level of empathy development. The situations in which one and the same participant became both a leader and an outsider in different projects are considered with the instability of sociometric status in the conditions of temporary teams being outlined.

Conclusions. The findings emphasize the importance of personality factors in maintaining a productive climate in the film crew and can be used when forming teams and selecting key personnel in similar project teams.

Background. There are very few modern studies on the psychology of the actor and they are mainly based on the study of individual personality traits of actors. The current article discusses L.S. Vygotsky’s approach to the psychology of the actor and presents the results of a comprehensive study of the personal characteristics of student actors. Peculiarities of professional activity and the modern socio-cultural situation was taken into account in the interpretation.

Objectives. The research is a complex analysis of personal characteristics of actors during the early stage of mastering their professional activity.

Study Participants. The study involved second and third year students of the acting faculty of the Institute of Contemporary Art (Moscow); a total of 76 people (39 girls, 37 boys), with an average age of 20.2 years.

Methods. R.B. Cattell 16 PF personality questionnaire, Eysenck EPI personality questionnaire adapted by A.G. Shmelev, short Big Five portrait questionnaire “B5-10” (authors M.S. Egorova and O.V. Parshikova), short Dark Triad questionnaire (adapted by M.S. Egorova, M.A. Sitnikova, O.V. Parshikova), A.A. Megrabyan empathy questionnaire, and the integral indicator “expert assessment of abilities” were used in the study.

Results. As a result of a factor analysis of the respondents’ indicators for all the methods used, the following 10 factors describing 69.9% of the total cumulative dispersion were identified: F1 “emotional excitability, plasticity”, F2 “sensitivity to moral constraints”, F3 “empathy”, F4 “openness to experience, trying oneself out”, F5 “publicity”, F6 “frankness, sincerity”, F7 “emotional joining the group”, F8 “insightfulness”, F9 “individualism”, F10 “free-thinking”. The identified factors are interpreted as specific personal formations involved in the realisation of acting.

Conclusions. The personal characteristics discovered in the study are considered from the point of view of the content and organisation of the actors’ training process. They can act as an alternative to the traditional approach aimed at the development of actors’ individual mental functions. Consideration of specific psychological vectors of personal development of student-actors as a basis for the proposed in training etudes and exercises shifts the focus of training on the image of character as a semantic unit of psychotechnical training.