Russian actor's linguistic personality in the mirror of self-presentation (against the background of Chinese actor's linguistic personality)

Chen' Shan' ORCID: 0009-0003-8856-6673 Senior Lecturer; Department of Russian Language; Xinjiang University 45 Vilyuyskaya str., Novosibirsk, Oktyabrsky district, 630126, Russia, Novosibirsk region 136315281@qq.com

The concept of "linguistic personality" in modern linguistics is undoubtedly one of the basic ones. To date, the definition given by Yu. N. Karaulov has not lost relevance: a linguistic personality is "... any native speaker of a particular language, characterized on the basis of an analysis of the texts produced by him from the point of view of using the system tools of this language in these tests to reflect his vision of the surrounding reality (worldview) and to achieve certain goals. in this world" ^{[19, p. 671]}. This concept, the highlighted characteristics and abilities of a person have set a powerful scientific vector, defining both the very structure of linguistic personality (verbal-semantic, linguocognitive, and motivational-pragmatic levels) and the methodology of its research. The category of linguistic personality was the solution to the request for the development of the anthropocentric field of linguistics, and the work of Yu. N. Karaulov gave impetus to the development of a whole field in linguistics called linguistic personology ^[17], or linguopersonology ^{[9, 13, etc.]}. As a result, as T. V. Kochetkova points out, since the 1990s, the concept of "linguistic personality" "... becomes a core system-forming philological concept. Most researchers currently assess it as integrative, which served as the beginning of a new stage in the development of linguistics – anthropolinguistics" ^{[12, p. 15]}. At the same time, despite the significant number of works devoted to linguistic personality, it is worth noting many scientific gaps of various kinds. Such gaps include the typology of linguistic personalities, questions about the depth of analysis, sufficiency of linguistic material and adequate linguistic research methods.

As you know, Y. N. Karaulov introduced the concept of the all-Russian language type, the national Russian language personality, and subsequently many typologies of language personality were developed. S. V. Olenev rightly notes that, depending on the vector of scientific interests, we can talk about a wide variety of types of linguistic personality: "authoritarian, marginal, literary, an elitist, dialectical, charming, ethnocultural, gender, historical, vocabulary, and linguistic personality" ^{[18, p. 24]}. Among the varieties of linguistic personalities in linguistics, a professional linguistic personality has been described ^{[3, 4]}. Scientists identify the following fundamental characteristics of a professional linguistic personality: 1) "activity in the field of specialty"; 2) "social multifunctionality, the understood ability to actualize several social roles that require varying degrees of mastery of the world"; 3) "the formation of a scientific picture of the world in the process of education (training)" ^{[3, p. 102]}. Regarding the second characteristic, it is worth noting that, as our analysis has shown, in a modern professional interview with an actor, they demonstrate various aspects of his life, different social identities (belonging to a type of activity, family, hobbies, etc.).

Currently, linguistics has provided a detailed description of the linguistic personalities of teachers, politicians, sports commentators, and scientists, while the linguistic personality of a Russian actor has not been the object of linguistic analysis, while cinema and theater are the most important components of culture and art, the basis for shaping the worldview of native speakers. This paper presents the results of a study of the linguistic personality of a Russian actor against the background of the linguistic personality of a Chinese actor, since a comparison of the speech behavior of Russian and Chinese actors allows us to fully and adequately describe the linguistic picture of the world of this professional group of native Russian speakers.

The object of this research is the linguistic personality of a Russian actor in self-presentation activities. The source of the research material was the texts of the interview genre, since, as O. S. Issers points out, the interview genre is an effective way to create image roles ^[10].

The unit of analysis in our work is a self-presentation statement. By self-presentation, we will understand a segment of speech containing information about the speaker's personality and personal sphere (profession, family, work, etc.), the purpose of which is to create an image for the interview reader. The main formal feature that underlies the selection of material along with the content is the presence in such a statement of the personal pronouns "I", "we", as well as possessive pronouns "my", "our" forms. As research material, we collected 1,741 self‒presentation statements (898 by Russian and 843 by Chinese actors) from interviews in the Russian online magazines Theater To Go, <url>, and Gazeta.EN", "Movie Mail.ru" and the Chinese online magazines 南方人物周刊 ("southern weekly"), 独家对话 ("Exclusive report"), 第一财经 ("Chinese"), 名人面对面 ("face-to-Face with the celebrities"), 凤凰卫视《名人面对面》("SFace ‒ Meeting with celebrities") and others.

The purpose of the article is to describe the levels of the linguistic personality of the Russian actor in the self‒presentation aspect against the background of the linguistic personality of the Chinese actor. The verbal-semantic level of a linguistic personality involves the analysis of preferred lexical and grammatical means of language selected by native speakers in speech activity. The cognitive level of a linguistic personality is a system of meanings in its worldview. This level can be called the thesaurus of a linguistic personality, the units of which are concepts, ideas, concepts, and values that each linguistic personality develops into a picture of the world. The pragmatic level of a linguistic personality includes goals, motives, interests, creative potencies of a person, his aspirations, attitudes, assessments, manifested in speech activity. Our focus is on the non-verbal tasks of the linguistic personality, because, according to E. I. Golovanova, "behind any actions, deeds of a particular personality, her attitude to other people, there is a complex of ideas, values, views, needs, interests and beliefs inherent in the individual and the corresponding professional subculture" ^{[5, p. 423]}. In addition, the verbal-semantic and cognitive levels of a linguistic personality are closely fused, and the analysis of the cognitive level follows from the analysis of the verbal-semantic level, so first we will consider the lexical and thematic content of the selected self-presentation statements, and then, using the method of comparing the statements of Russian and Chinese actors, we will draw conclusions about the differences in national linguistic worldviews. The analysis of the pragmatic level of linguistic personality will be based on the identification of tactics of self-presentation of actors in the genre of interviews.

The collected self-presentation statements were divided into 12 topics according to different types of social identity: work/profession, family, hobbies, education, character, health and appearance, age, place of residence, skills, habits/lifestyle, faith/religion, gender (for types of identity, see, for example, in work V. S. Ageeva ^[1]). The results of the statistical analysis are given in Table 1.

Table 1 ‒ Thematic distribution of self-presentation statements of Russian and Chinese actors in interview texts

Professional identity is represented in the studies of L. B. Schneider ^{[21, 22]}, S. V. Bentley, K. Peters, S. A. Haslam, K. H. Greenaway ^[23]. It was found that professional identity is an integral part of a personality, represents an internal and external correlation of an individual with a certain profession and professional group, includes cognitive, emotional-volitional and behavioral components of oneself require an understanding of one's professional skills. An analysis of the self-identification statements of Russian and Chinese actors made it possible to establish a hierarchy of values reflected in professional interviews, and showed that actors of different nationalities simultaneously and in some ways equally (universally), and reflect different types of values in slightly different ways. Let's look at the analysis results in more detail.

In both interviews with Russian and Chinese actors, the topic of the work occupies a leading position (53.9% of statements in interviews with Russian actors and 49.8% ‒ Chinese). The analysis of lexical professional dominants was presented by us in the article "The lexico-semantic field of cinema in the Russian language (against the background of the Chinese language)" ^[13]. At the same time, Russian actors have the leading questions about the filming process ‒ 87 statements (18%), hero / character ‒ 78 (16.1%), career growth ‒ 67 (13.9%); compare Chinese actors: topics "hero/ character" ‒ 88 (20.6%), "professional development" ‒ 85 (19.9%), "career growth" ‒ 72 (16.8%), "shooting process" ‒ 38 (8.9%).

Although the number of statements about their roles played in films, more precisely, about the characteristics of the characters/ characters in films, is correlated, about the same, they differ somewhat in their content. So, Russian actors focus on the uniqueness of their roles, the characters of their films are unusual, outstanding, for example: But it seemed to the producers that I should be the one to play Sobolev. This is such a compilation of a man who would be well-read, educated and cultured, but at the same time could also punch in the face (Ivan Kolesnikov); I would like to play some very evil villainess (Maria Matzel); I would say this: Alla is an unusual ordinary woman (Elena Podkaminskaya). Actors experience strong feelings, creating the necessary images: I play a very small role of an angel there, but it's incredibly valuable to me (Fedor Fedotov); It's great that my character doesn't look like me, I hope – he has a pretty nasty character, and he manages to ruin the lives of others a lot (Fedor Fedotov).

CP. with the statements of the Chinese actors who are also focused on their similarity with the character, but do not push forward their emotions, feelings, for example: 我好像只是吃饭、睡觉，每天一起床化妆，就变成了另外一个人，永远活在别人的语境里、别人的世界里、别人的思维里。It felt like I was just eating, sleeping, and putting on makeup as soon as I woke up every day. I become a different person, forever living in a foreign context, a foreign world, a foreign consciousness (胡歌 Hu Ge). Chinese actors often speak about the impact of his character on the viewer: 我希望能让观众朋友们在我的身上，真真切切地感受到李峋这个人物的存在。I want the audience and friends to really feel the presence of this character in me. In addition, production issues related to the actor's nationality are raised:Asian actors have long been given only stereotypical or inconsequential roles (e.g. Michelle Yeoh).

Russian actors prefer to talk about the process of making films, enjoying it or suffering from it, as well as finding the process of making a film very useful for their real lives.: It seems to me that an artist gets a certain buzz when he may encounter things on set that he would never encounter in his real life (Nikita Pavlenko); Every time I stand in front of the camera, I always solve my internal problems and try to understand something for myself. explore new things for yourself (Natalia Shchukina). While Chinese actors often describe the actual details of the shooting in the context of the story about the specifics of their work. Wed: 我们当时看完剧本觉得这一段稍微平了一些，就在片场和导演一起聊，把自己代入角色，把他们真正想说的话说出来。也就一个小时吧，就把戏对出来了，拍摄的时候也很顺畅，一条就过了。We read the script and thought it was a little flat, so we talked to the director on set, getting used to the characters and saying what they really wanted to say. It only took us about an hour to finalize the scene, and the shooting went smoothly, and we shot it in one take (祖峰 Zu Feng).

The topic of career growth is presented in interviews with Russian and Chinese actors equally in terms of quantity (Russian − 67 statements = 13.9%, Chinese – 72 statements = 16.8%), and quality. First of all, of course, the actors are interested in the recognition of the audience or professional awards, cf.: The staff of our school cafeteria said, "We saw you on Russia" (Maria Matzel); Therefore, it is not my destiny to go to Cannes. I'm going to the Smile, Russia festival in Tula. And I'll be fine there. (Nikita Vladimirov); 大家能记住我的角色就是我演戏的目的，我相信只要我角色演得好，大家以后就会知道有个演员叫陈雨锶。The fact that people can remember my character is the goal of my acting work, and I believe that if I play my role well, people will later find out that there is an actor named Chen Yu Si; 21 In 2021, I was nominated for everything The plays I've participated in.

Chinese actors believe that professional growth there is no age limit, acting on the principle of "Live to old age, play to old age", for example: 艺术创作不以年龄为分界，而是源自对日常生活的敏锐感知，对所处社会始终关注的能力，以及扎实的专业基本功。我想，创作的原动力应该就来自于此。Art is not divided by age, and derives from the acute perception of everyday life, the ability to constantly worry about their society and a solid professional basic skills. I think that the driving force of creativity should come from this (Xi Mei Juan). It is also important to note that Chinese actors are more concerned with their personal career: will they become more famous and will great financial benefits, for example: 我跟你说我不喜欢赚钱是假的，都是苦出身，都是吭哧吭哧自己一步一步得来的。It's true, when I say that I don't like to make money, we all came from ordinary families, we all achieved this step by step huffing and puffing (郑恺Kai Zheng); 名和利来了，就去接受，但这是大家赋予的，要用更好的表演去回馈。When fame and fortune come, take them, but they were given by everyone, and you have to give them back with the best performances (Liu Huan). Such statements are absent in interviews with Russian actors.

It is also interesting to note that Russian actors believe that cinema and theater are inseparable. For example: It is impossible for me to work in cinema without theater (Fyodor Fedotov); I definitely will not voice something new about why cinema cannot replace theater (Elena Yakovleva); I have little directorial experience in cinema, more in theater (Evgeny Tsyganov). Theater can enlighten people about life, for example: In my opinion, theater can sometimes "include" people in the meanings of this life more than journalism (Igor Sklyar). Chinese actors emphasize that theatre and movie are very different from each other:人艺一直到现在都会对我有影响，因为我觉得戏剧跟电影和电视剧不同，戏剧它是别的形式，当然你要说影视剧这三个都是不可替代的。Folk art has always influenced me and continues to influence me, because I believe that theater is different from cinema and drama, theater is a different form, for example, cinema, television and theater − all these three areas are indispensable.

When analyzing the motivational level of the actor's linguistic personality, we will rely on the classification of self-presentation tactics by A.V. Aksenova, suggesting a broad, that is, non-genre, view of this strategy. This classification of self-presentation tactics is based on the analysis of various genres, various communicative conditions and includes the following oppositions of tactics: in relation to status (distancing or shortening the distance), by the sign of the formed attitude (positive or negative), by the method of expression (direct or indirect), by orientation (external or internal) ^{[2, p. 109-114]}. Let's look at these types of tactics in our material.

1. By way of expression (direct or indirect self-presentation). First of all, it should be understood that the self-presentation of a person (that is, the presentation of information about oneself to others) can be expressed directly or indirectly. Cf. the analysis of direct, indirect and hidden self-identifications in the work of M. A. Lappo ^[14]. Syntactic models of direct expression are those types of sentences that literally answer the questions Who am I? / Who are we? / Do I like being someone? And what am I like? / What are we like? / Do I like being something? For example: For me, Soviet plays are modern. I am a child of the USSR, I found it all (Anatoly Smiranin); we Have such a wonderful profession, where the happy meeting with the audience (Anatoly Smiranin); 不管是电影还是电视剧，不管是荧幕还是舞台，我喜欢的是作为演员本身，不管任何形式我都愿意尝试。Whether it's movie or TV series, whether on screen or on stage, I love to be an actor, and I'm ready to try yourself in any form (蓝盈莹LAN Yingying).

The number of direct self‒presentation statements by both Russian and Chinese actors is small, most of the statements use indirect ways of self‒presentation (92.3% in Russian, 91.5% in Chinese interviews). See, for example, how A. Smiranin says that he is a famous actor, here the semantic emphasis shifts to the behavior of the audience at a chance meeting ("sometimes they find out in transport") and on the emotions they are experiencing ("it's nice to hear"): I would even say that 20 years ago the Sphere Theater was less well-known, but now I am sometimes recognized in transport as an actor of the Sphere theater, it's nice to hear good words! (Anatoly Smiranin). Or, in the words of a Chinese actor, including myself when talking to a professional group, it ascribes the required behavior, and, of course, talking about himself, but about his professional skills: 我认为，演员要先学会生活，才能在演每一个角色的时候，把生活的质感带到角色里。I think actors should first learn how to live, so that when playing each role, they can transfer the texture of life into their role.

Thus, it can be seen that indirect self-presentation, including the discrepancy between the intention and the literal meaning of linguistic means, serves a specific communicative task.: to convey positive self-esteem not literally, but indirectly, in a veiled way, which corresponds to the ethical norm of "not praising yourself."

2. In relation to status (distancing or shortening the distance). The profession of an actor involves a special use of status: on the one hand, he must be "not like an ordinary person" in order to arouse the viewer's interest in his person. In relation to status, all interviewees demonstrated tactics of distancing themselves from the addressee (in the terminology of A. I. Dubskikh, divergence ^[6]), which can be explained by the specific task that the interview performs: it is taken from a specialist in order to fill a gap in knowledge and experience. Consequently, the addressee often emphasizes belonging to a certain professional community. On the other hand, fans also often need their favorite actor to be an "ordinary person", the same as everyone else, then the tactics of shortening the distance or getting closer to the addressee are involved (in the terminology of A. I. Dubskikh, convergence [Ibid.]).

The "distancing" tactic It is represented in 56.05% of the statements of Russian actors reviewed by us, the tactic of "shortening the distance" – 41.6% (fuzzy attitude to distance – 0.32%). Compare with the data in interviews with Chinese actors: "distancing" ‒ 55.4%, "shortening the distance" ‒ 38.7% (fuzzy attitude to distance – 2.1%). Thus, the differences in self-representation in relation to other people in the field of acting between Russians and Chinese are not significant.

To interview tactics "distancing" is used with the aim of strengthening or creating an attractive image, emphasizing the achievements, for example: Today I'm 80 years old and have been preserved (Vyacheslav Spesivtsev); 我这一生真的是，老天对我特别好，给了我一个最喜欢的职业，又让我能一直从事这个职业。My whole life was really such that God was especially kind to me, gave me one of my favorite professions and allowed me to continue this profession. Actors demonstrate their uniqueness and differences from other people, for example:In my opinion, the comfort circle lasts a long time, people don't progress (梅婷 Mei Ting); I often sing and do almost everything to music. But for me, cinema comes first, then dubbing, then languages (Vitaly Kornienko).

The tactic of "shortening the distance" allows you to maintain the attention and affection of the audience, confirming the importance of the actor through connections with other colleagues and the impact on the audience, for example: We became friends with him on this project and communicate with him. He [Dmitry Pavlenko] is a vegetarian, and he has a black belt in Aikido (Anton Batyrev); And it seems to me that the audience responds to stories that are told sincerely, with talent and with love for people (Elena Yakovleva); 第一次遇到网络对我的谩骂时，我整个人都很蒙，也特别委屈，一直哭，一直生气，想着写一些自己的想法跟大家解释，直到后来朋友安慰我说，演员是演角色，和本人没有关系，别人骂你说明你塑造角色成功了，我才逐渐适应。When I first came across insults on the Internet, I felt very confused and offended. I was crying all the time, I was angry all the time, and I was thinking how to explain everything to everyone; then my friend comforted me and said, "The actors are playing roles, the actors themselves have nothing to do with it, and when you get scolded, it means that you have successfully coped with your role," and I gradually adapted to the situation. (马丽丽 Ma Li). In the latter context, the reduction of distance is expressed in describing oneself as an ordinary person with ordinary experiences, as well as in the fact that a friend (the semantics of intimacy) can comfort and support.

3. According to the sign of the formed attitude (tactics of positive or negative assessment). The share of using statements accompanied by positive and negative assessments is approximately the same for Russian and Chinese actors. Indicators of evaluative semantics: positive assessment (66.3% ‒ Russian, 68.3% ‒ Chinese actors), negative assessment (18.0% ‒ Russian, 16.5% ‒ Chinese actors), neutral statements (15.7% ‒ Russian, 15.3% ‒ Chinese actors). The predominance of positive self-presentations is explained by the specifics of the interview genre, since, according to E. A. Kovrigina, the macrointelligence of the interviewee lies in positive self-positioning ^{[11, pp. 4-5]}.

Both "negative" and "positive" assessments in actors' self-presentation statements relate to their behavior, character, and attitude to something, for example:I'm also terribly afraid of communication. It's also not easy for me to fit into the group (Bai Jing Ting); I was offered a role by good producers and a great director with a great script (Anton Batyrev); We have a lot of dark and tough films (Milos Bikovic).

4. By orientation (external or internal tactics). The division of self-presentation tactics into external and internal is related to the focus of the description on objective and observable elements of reality (status, movie role, facial expression, etc.) or on internal, mental, subjective (experience, attitude, position, general value of someone or something).

Russian actors in the interview genre are much more likely than Chinese actors to use internal self-presentation tactics (compare 87.1% for Russian and 68.5% for Chinese actors). At the same time, the ratio of internal and external orientation is the same: both Russian and Chinese actors talk about their emotional experiences much more often than about objective reality. Let's look at examples of such statements.

The tactics of internal orientation of utterance are used, firstly, to describe goals, plans, for example: In the future I'll be a very different policy in regards to career (Evgeny Matveev); 我很喜欢动画片，有机会还是会配音，因为这个很有意思。I really love cartoons, and I have a chance to still voice them because it's interesting. Secondly, to describe a worldview, values, for example: I saw that my mother was happy as a woman because of this, too. Because Dad did a lot but didn't talk much (Maria Aronova). Thirdly, to describe the relationship with colleagues, for example: He is absolutely in my heart ‒ I saw [Yuri Khmelnitsky] as a professional man who clearly understands what he wants. He's very flexible and ready for each shooting day (Maria Aronova); 当我身边的朋友遇到类似（被造谣）的事的时候，我愿意为他们挺身而出。When my close friends encounter something like this [disinformation], I am ready to speak up for them (Da Peng).

On the contrary, the proportion of statements describing the situation from an objective, external perspective is more than twice as high among Chinese actors (264, which is 31.5%) as among Russian actors (115 ‒ 12.9%). It is worth noting that the external elements, any facts from life are most often given in the context of the actor's inner experiences. For example: I had a wonderful teacher Anton Leshchinsky, who now teaches in the University and in the Sliver, put on plays, working in the Lenkom and a lot of it does (Anatoly Smiranin): 异乡漂泊的生活也是我成长经历的写照，为了学习表演，我背井离乡在南京求学，后来又辗转北京寻找机会。Life in foreign lands, this is also a reflection of my upbringing. To study acting, I left my hometown and continued my studies in Nanjing, and then moved to Beijing in search of new opportunities.

Let's summarize the results. A comparative analysis of the self-presentation statements of Russian actors in the genre of interviews with similar statements by Chinese actors allowed us to focus on the cognitive level of the linguistic personality and establish that the topic of work in the genre of actor interviews is the main one. This is facilitated by both the questions asked to the actor, corresponding to the target orientation of the genre of speech we are studying, and the professional interests of the interviewee. At the same time, if the topic of the filming process is in the first place in interviews with Russian actors, then interviews with Chinese actors are the topic of the hero, the character of those films in which the actor was shot or is currently being shot. Of course, the theme of the hero / character of the film is also of maximum interest to Russian actors (second place in the rating of topics), so it can be considered equally important for an actor, regardless of nationality. In the description of the film's characters, the Chinese actors focus on the power of influencing the viewer, while the Russian actors focus on their experiences related to the role. Thus, Chinese actors shift the vector of emotions from themselves (the speaker) to the viewer, the recipient of the film.

The topic of career growth is also of equal interest to Russian and Chinese actors, they are equally interested in new roles, fame, recognition, and receiving special awards. At the same time, Chinese actors are somewhat more explicit about their pragmatism and desire for greater financial benefits than Russian actors.

The analysis of the motivational level of a linguistic personality was based on the concepts of non-genre classification of self-presentation tactics. Aksenova. Based on the material of a significant body of self-presentation statements, the following oppositions of tactics were studied: in relation to status (distancing or shortening the distance), by the sign of the formed attitude (positive or negative), by the way of expression (direct or indirect), by orientation (external or internal). It has been established that significant differences between Russian and Chinese actors exist only in terms of external or internal orientation when describing certain objects or phenomena. Russian actors are much more willing to describe subjective, mental experiences, while Chinese actors are more likely to focus on objective and observable phenomena of reality. Thus, 1) a significant predominance of indirect self-presentation statements over direct methods of self-presentation, 2) an approximately equal ratio of distance reduction and distancing tactics, 3) the predominance of positive assessments of the described phenomena over negative ones in the genre of interviews of Russian and Chinese actors can be considered universal features of this type of text. These indicators reflect, respectively, 1) similar values and ethical priorities in bringing one's personality to the fore; 2) the actor's complex, delicate game with the interview recipient (viewer) for approaching or distancing himself from him, forming an attractive, interesting, unique image of the actor; 3) the functioning of the interview genre in the Internet space of a certain type, which is influenced by globalization, namely the shift towards a more entertaining genre, when negative assessments are present in speech, but do not occupy a significant place.