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APPENDIX 2 with the young actors. It happens frequently in children's films that children are called in as actors, sometimes even in leading roles, although scripts are usually written for adult actors.
The creative task demands tense and thorough educational work with each child on the part of the director. Decisive is the rejection, on principle, of every 'child prodigy' stunt, so that both the child and the parents are prevented from acquiring harmful ideas as to the 'great talent' of the little actor. Children and adolescents who take part at the shooting must feel as unconstrained and natural in the film studio as at school or at home. They must therefore be guarded from all possible influences of unhealthy 'artistic' exaggeration, and from the psychologically ill effects often connected with this.
In the Soviet children's film, a 'professionalisation' of youthful actors is hardly possible. New little actors, who, by their external or other characteristics, are suitable for a particular part, are chosen for each film from schools, cultural and educational institutions.
The film, The Foundling, made in 1940 by the children's film director, Tatjana Lukaschewitsch, is an example of the specifically educational work of the directors. For the casting of the main part a six-year-old girl was 'engaged'. She had to portray a very complicated and even partly dramatic part in the film: a child runs away from home through the carelessness of the parents, comes to strangers, lives through various adventures, but retains, in spite of all, her childish seriousness and her sincerity towards the adults. And precisely out of this arise the charming comical situations of this interesting film. The audiences were stunned by the natural acting of the heroine. It appeared to be a clever trick or the result of an extraordinary ability on the part of the child to imagine herself in the part.
The situation, however, was quite different. The normal life, the habits of the child, remained completely undisturbed throughout the period of shooting. An atmosphere was quite simply created for the child, in which she felt that she was 'on a visit to Aunt Tanja' (the director).
In her notes on this film, the directress tells of the enormous difficulties which she had to overcome in order to obtain the complete trust of the child, so that she would 'play her usual games in such a manner as to be in accordance with the composition and action of the film'. Of course, practically not one scene in this film was acted consciously by the child. Movements, intonations, moods,
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