Fomina N.A., Dr. Hab., Professor
Volgograd State Institute of Arts and Culture, Volgograd

Aleshina O.V., Associate Professor
Volgograd State Institute of Arts and Culture, Volgograd

Plotnikova P.I.
Volgograd State Institute of Arts and Culture, Volgograd

Keywords: motor training of actors, emotional intelligence, expressiveness, managing the emotions of others.

Introduction. The actor's performing skills are characterized by the ability to influence the emotional state of the audience, conveying the sharpness of the plot, the character and actions of the characters in the play. Managing the emotions of other people is an important component of emotional intelligence, the development of which should become one of the main tasks in the process of actor training at the university, including motor training [2]. The relationship between the development of motor expressiveness and emotional intelligence is of research interest, since the idea has not been reflected in modern scientific literature [1].
The purpose of the study is to identify the relationship between motor expressiveness and the most important indicators of emotional intelligence.
Methodology and organization of research. Emotional intelligence was assessed by Hall (online questionnaire), the method of expert assessment of motor expressiveness, statistical analysis (correlation).
The results of the study and their discussion. 60 1st‑4th year students studying at the Acting Department took part in the testing.
Analysis of the Hall test results revealed that of the 5 assessed components (emotional awareness, managing one's emotions, self-motivation, empathy, and managing the emotions of others), a low level of indicators was noted in managing one's emotions in all groups of students, the rest are at the average level. However, the average indicators of emotion management of other people in the group of 4th‑year students turned out to be slightly higher relative to the younger students, so there were significantly significant differences with the groups of 1st and 3rd‑year students (the values of the Mann‑Whitney U-test, respectively, 44 and 54.5 at p<0.05), which indicates the possibility of developing the ability to manage the emotions of others in the process of comprehensive training of future actors. No significant differences were found in other components of emotional intelligence. Within the group, an analysis of the results revealed the predominance of medium and high values for the four studied indicators (except "Managing your emotions") in groups of 3rd‑4th year students (85-100%), while in groups of 1st‑2nd year students, medium and low values predominate (64-91%), reflecting a tendency towards the indirect development of emotional intelligence. in the course of studying acting.
The assessment of motor expressiveness was carried out by three experts in points (maximum 15) according to the criteria of creating an artistic image (artistry, naturalness, brightness). After that, a correlation analysis was performed between indicators of motor expressiveness and "Controlling the emotions of others" as the most sensitive component of emotional intelligence. The obtained correlation coefficient of 0.326 indicates a positive moderate relationship between the studied indicators.
Conclusions. Thus, based on the conducted research, it can be assumed that the use of special means of motor expressiveness in the process of training students of the acting specialty will allow purposefully improving the qualitative characteristic of movement – expressiveness and developing the ability to control the emotions of others, which is an important contribution to the formation of professional skills of future actors.

References

1. Listik E.M., Kurganova E.A., Kudryavtseva E.L., Pashkova O.A. Interrelation of emotional intelligence with academic performance of university students. Acta Biomedica Scientifica. 2022. Vol. 7. No. 1. pp. 103-113.
2. Chernyavsky G.P., Melnikova Yu.V., Fomina N.A. Enhancing motor expressiveness in professional practical physical training process of future actors. Teoriya i praktika fizicheskoj kultury. 2020.  No. 7. p. 62.