Relevant bibliographies by topics / Acting Actors Theater Method acting

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Acting Actors Theater Method acting'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Acting Actors Theater Method acting"

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Alfirdaus, Moh mujib. "PENGEMBANGAN MODEL PEMBELAJARAN PEMERANAN BERORIENTASI TEKNIK CS PADA TEATER TRADISI." Buana Pendidikan: Jurnal Fakultas Keguruan dan Ilmu Pendidikan 14, no. 25 (March 7, 2018): 49–58. http://dx.doi.org/10.36456/bp.vol14.no25.a778.

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This learning model is the author's attempt to develop acting method in traditional theater through the Stanislavski's technique, although the need for theater tradition performances and theater conventional realism performance is different. During this time the method of play in the theater tradition is still spontaneous, but the method of acting on the theater tradition must be measurable and can be studied in the academic field, hence, the author develops acting methods based on Stanislavski's technique as a reference in learning. An actor is a student for nature and pupil for anyone as long as the knowledge he earned is useful to develops his acting creativity. Therefore this Stanislavski's method becomes very influential to train the actor's intelligence, despite his need for traditional theater. Why is Stanislavski's method becoming important to be learned by actor candidate ?. Because the analysis used by Stanislavski's method is still very logical and reasonable, it did not rule out the effects of int elligence for anyone who applied it. This circumstance emphasizing the importance of Developing Stanilavski's technique-oriented Learning Model on Traditional Theater. In order for candidates who will perform for traditional and modern show, are expected to be ready with all the acting devices to employ. Therefore, this learning method need to be applied, especially in STKW Surabaya. The purpose of this research is developing a learning model for acting in the theater tradition. This research carried out by producing several outcome. First, a handbook of Stanislavski's method learning model for student. Second, a lecturer's handbook for an effective and efficient learning process
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Ishak, Ismaliza. "TRANSFORMATION APPRECIATION OF MONODRAMA "LADY SWETTENHAM" AND "GREEN LIGHT"." International Journal of Creative Industries 1, no. 1 (September 15, 2019): 15–26. http://dx.doi.org/10.35631/ijcrei.11002.

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This article is aimed at analyzing the transformation method applied by two selected monodrama actors, Sabera Shaik in monodrama theater "Lady Swettenham" and Shahrul Mizad Asyaari in the monodrama theater "Waiting for the Green Light". This study takes into account some of the transformation methods used for conveying appreciation and visually inspiring the audience. Through the survey method of secondary and premature data and directly involved in the spectacle, the illustration is clearly detailed through scientific analysis in the performance of monodrama acting. These two presentations can illustrate the success of the transformation method and are indirectly made between the basic recommendations to the solo acting method. Using the Imitation theory approach by Albert Bandura and method acting (Stanislavski) this approach can be used as a benchmark for non-realistic acting representation.
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McConachie, Bruce. "Method Acting and the Cold War." Theatre Survey 41, no. 1 (May 2000): 47–68. http://dx.doi.org/10.1017/s0040557400004385.

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Triumphalist accounts of the spread of “the Method” in post-World War II America generally explain its success as the victory of natural truths over benighted illusions about acting. In Method Actors: Three Generations of An American Acting Style, for instance, Steve Vineberg follows his summary of the primary attributes of “method” acting with the comment: “These concerns weren't invented by Stanislavski or his American successors; they emerged naturally out of the two thousand-year history of Western acting.” Hence, the final triumph of “the Method” was natural, even inevitable. Vineberg's statement, however, raises more questions than it answers. Why did it take two thousand years for actors and theorists of acting to get it right? Or, to localize the explanation to the United States, why did more American actors, directors, and playwrights not jump on the Stanislavski bandwagon and reform the American theatre after the appearance of the Moscow Art Theatre in New York in 1923 and the subsequent lectures and classes from Boleslavski and others? The Group Theatre demonstrated the power of Stanislavski-derived acting techniques in the 1930s, but their substantial successes barely dented the conventional wisdom about acting theory and technique in the professional theatre. Yet, in the late 1940s and early fifties, “method” acting, substantially unchanged from its years in the American Laboratory and Group theatres, took Broadway and Hollywood by storm.
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Howard, Skiles. "A Re-Examination of Baldwin's Theory of Acting Lines." Theatre Survey 26, no. 1 (May 1985): 1–20. http://dx.doi.org/10.1017/s0040557400000296.

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Theatre history sometimes amuses us with the persistence of certain notions which, no matter how roundly discredited, simply refuse to die. One of these speculations concerns the method of pairing role and actor in the Elizabethan theatre. Actors were assigned to their roles, and roles were written for actors, in accordance with the actor's “lines of business” — weren't they? T. W. Baldwin's long and influential book, The Organization and Personnel of the Shakespearean Company, attempts to prove this method of role designation. However, his is one of those theories of remarkable stamina which, in spite of serious critical challenge, never stay down for the count, but stagger gamely back into lectures and appear unexpectedly in respectful citations. Given its shortcomings and inaccuracies under close scrutiny, Baldwin's hypothesis seems to demand a final and permanent interment. To that end, I will examine the question of acting lines — the theory, its champions and its challengers, and the evidence for and against it, taking Baldwin's work as a starting point.
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Budanov, Vladimir Grigoryevich, and Tamara Andreevna Sinitcyna. "Quantum-synergetic ontology of generalized corporeality (Part III): psychosemantic language of theater, anthropological jazz." Культура и искусство, no. 12 (December 2020): 138–59. http://dx.doi.org/10.7256/2454-0625.2020.12.34793.

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This article is a continuation of the topic on methodology of generalized corporeality, which stems from the concept of quantum-synergetic anthropology, developed in the previous parts of the triptych. Ontologies of the states (functional bodies and subbodies of generalized corporeality), as well as temporal ontologies are viewed on the example of theatrical acting. The author structures an isomorphism of the well-known musical notation, and representation of the changing anthropological profile in form of a chord of the simultaneously activated “resonating” states of the actor. The article discusses the appropriateness of such musical metaphor, analogy between the freedom of actors’ improvisation, as the anthropological jazz characteristic to any performer, although to different extent. The classical style is even less versatile than jazz improvisation. The author draws parallels of such performances with works of the classics of theater directing, philosophy of acting, and communication of musicologists: K. S. Stanislavsky, A. A. Vasiliev, B. Latour, J. Huizinga, J. E. Berendt. A certain language of interpretation of acting is offered using the dynamic patterns of description of events in the course of the play.  If these patterns are adequate to stage reality, which the author was trying to prove, they can be implemented in training the actors, staging performances, etc. This virtually led to creation of a new psychological technique that allows amplifying the acting skills. Moreover, such type of notational representation of actor roles allows archiving and decoding the director's intention using a fairly universal method.
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Marchenko, Herman. "Vsevolod Meyerhold’s Biomechanics and Boris Zakhava's Educational Work." Scientific and analytical journal Burganov House. The space of culture 16, no. 4 (December 10, 2020): 58–74. http://dx.doi.org/10.36340/2071-6818-2020-16-4-58-74.

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The article deals with two different approaches to training actors. One of them is Stanislavski’s system, and the other is Meyerhold’s biomechanics. Konstantin Stanislavski and Vladimir Nemirovich-Danchenko are reformers of the Russian theater. As the Art Theater founders, they understood that the emergence of a new drama would require a completely different approach to working with actors and a different design of the stage space. With regard to new performances, it became possible to pose critical social questions related to everyday life before the viewer. Therefore, it was logical that the director's profession became very important. Working on his system, Stanislavski paid great attention to the need for an actor’s comprehensive development. Many wonderful actors who attended his acting school were among the students of this great theater director. Vsevolod Meyerhold was one of them. However, the latter chose his direction and began to engage in staging performances actively and search for new means of expression, having come to an absolute convention on the stage. Meyerhold created his method of working with an actor, known as biomechanics, in the theatrical environment. The principle of this approach is the opposite of Stanislavski's system. With all the difference in views on the theater, in the early stages of Meyerhold's independent practice, Konstantin Stanislavski offered him the opportunity to cooperate, which led Vsevolod Meyerhold to the Studio on Povarskaya Street in Moscow. Evgeny Vakhtangov was another student of Stanislavski and Nemirovich-Danchenko. At the request of Stanislavski, Vakhtangov was engaged in educational work in the studio of Moscow Art Theatre. Unlike Meyerhold, he thoroughly mastered the system and then created his theatrical direction called fantastic realism. Vakhtangov's legacy was preserved thanks to the activities of his students, among whom was Boris Zakhava. He turned to Meyerhold for help and spent several seasons with the master, gaining invaluable experience, including revealing the features of biomechanics in practice. Boris Zakhava remained faithful to Vakhtangov’s principles and continued his teacher’s work at the Shchukin Theater Institute.
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Kryvosheieva, O. V. "Imagination as one of the key elements in the formation of a future actor psychotechnics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 299–311. http://dx.doi.org/10.34064/khnum1-56.19.

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Background. One of the most important questions in the acting profession is how to educate the psychophysical apparatus of the actor, what it consists of, what exercises will be useful and will be able to develop the necessary psychophysical qualities. Therefore, the theatrical teachers often turn to the sciences, which study the human, to be able to rely not only on the personal experience and on theoretical works of famous theatrical figures. Therefore, K. Stanislavsky creating theory of art turned to experimental psychology, the theory of conditioned reflexes by I. Pavlov. K. Stanislavsky sought to substantiate scientifically his system, to analyze creativity based on “brain physiology”, to study objectively higher nervous (mental) activity. One of the basic elements of the actor’s psychophysics is imagination, which remains by far one of the least studied. Moreover, the first studies of the “imagination” in such science as neuroscience began only in the second half of the XX century. Today, it is important to pay attention to the discoveries that take place in the related sciences in order to be able to understand deeper how a particular exercise affects the psychophysics of a future actor. There is a small amount of contemporary work devoted to the theoretical substantiation of the development of the psychophysical qualities of the actor. Among them the writings by famous theater educators Uta Hagen (“Play as Life”) and Ivana Chubbuk (“Chubbuk’s Actor Technique”) are, which consider the concept “imagination” in relation to other elements of actor psychotechnics, as one of the tools and ways of creating the role. The American actor and a teacher Gavin Levy has created an interesting book “275 Acting Games: Connected” presenting various exercises connected with developing of imagination. Professor of Acting at the University of California Bella Merlin in her work “Acting: Theory and Practice” proposes to develop imagination through a variety of games and improvisation also. Attempts to comprehensive study of actor training, the impact of exercise on the imagination and psychophysics of the actor as a whole are described in the works of M. Alexandrovskaya, S. Gippius, N. Rozhdestvenskaya, V. Petrov, and L. Gracheva, whose experimental results was used in this study, The objective of this paper is to consider the concept of “imagination” in the complex and interaction with other elements of actor psychophysics, using the latest scientific discoveries about human. A complex methodology was used in the work: analysis and synthesis methods that allow to explore a category such as “imagination”, separately and in conjunction with the elements of actor psychophysics; methods of systematization and generalization – to determine the key theoretical provisions of the study in the context of understanding the pedagogical experience of modern domestic and foreign theater schools; method of historical and cultural analysis – in the course of consideration of works on the theory of theater. Results. The concept of “imagination” in acting training is used quite often, but there is no specific answer to the question – whether imagination trains or not. Professor of Russian State Institute of Performing Arts Larissa Gracheva conducted an experiment to help answer this question. Students were asked to recall and relive in their imagination the acute emotional situation that was in the life of each participant in the experiment. A total of 30 student actors and 20 economics and theater students were involved. This experiment affirms the influence of special acting exercises on developing the imagination, because 95 % of participant-actors demonstrated body physical reactions. This concept is considered the paper in conjunction with other elements of actor psychotechnics, such as “visions” (after K. Stanislavskiy), affective and emotional memory, reaching truthful expressiveness on stage and muscular freedom. The chain of interaction between these elements is proposed and their interdependence is justified. The experiment answered the question of how imagination is dependent on “visions” and affective memory, what kind of exercises the future actors can train their imagination. Links has been established between imagination and muscular freedom. Recent discoveries of neuroscience have been used to answer the question of what is going on with the brain, when human being imagines something. Overall, the paper summarizes the current state of knowledge of the selected topic by discussing the findings presented in recent research papers that create an understanding of the theme for the reader. Conclusions. Training of “awakening the imagination” is a complex psychophysical process that can be developed only in combination with other elements of actor psychotechnics. Such complex approach will allow the actor to shape a completely harmonious personality. Imagination is based on visions that form and emerge from each person’s long-term memory. For each actor, these internal images will be unique. This proves that the use of imagination (substitution effect and affective memory) is quite personal and unique process. This approach causes an impression of truth of drama action and induces a strong emotional response. In turn, emotional reaction is first a muscular reaction of the body. Therefore, in acting training it is important to make exercises so as to harmoniously develop the psyche and physics of the actor using in plastic exercises imagination and vice versa, the physics reactions for the developing of imagery thinking.
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Kozodaev, Pavel I., and Ekaterina K. Titova. "Pedagogical factors of formation of improvisational acting skills in amateur theatre." Psychological-Pedagogical Journal GAUDEAMUS, no. 47 (2021): 21–30. http://dx.doi.org/10.20310/1810-231x-2021-20-1(47)-21-30.

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We consider some issues of modern society related to the growing trend of social and emotional isolation of the individual, changes in their worldview, leading to the degradation of thinking and intellectual abilities. There is need to search for psychological and pedagogical ways, means and methods to activate the intellectual, emotional and creative development of the individual. A possible way to solve the identified social issues is the possibility of forming a person's skills for improvisation. We consider the implementation of this process in educational and creative activities of an amateur theater group as a sphere that provides ample opportunities for creative self-realization of the individual. We define the term “improvisation” as a universal ability of the individual, which is manifested in various creative processes, as well as in many other aspects of human life. An actor forms improvisational skills in an amateur theater group due to the organization and implementation of a number of pedagogical conditions, such as: creating a climate of psychological comfort that promotes the self-disclosure of individual and creative abilities of participants in an amateur theater group; using the etude method in the process of mastering the elements of acting improvisation by an amateur actor; mastering the basics of “effective thinking” through specific training exercises. The content component of the implementation of these pedagogical conditions, according to the authors, activates the course of the described process.
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Sovhyra, Tetiana. "ROBOTIC THEATRE: COMPARATIVE ANALYSIS OF HUMAN AND MECHANIZED ACTIVITIES IN THE CREATIVE PROCESS." Creativity Studies 14, no. 2 (August 9, 2021): 295–306. http://dx.doi.org/10.3846/cs.2021.13545.

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The article systematizes and analyzes the existing experience of organizing the creative process in a robotic theater. The author explores the robotic theater phenomenon, the artificial intelligence technology possibilities to function in the stage space. The article provides a comparative analysis of human and mechanized interaction in the stage space. The methodological basis of the research is a combination of several methods: analytical – for accounting for historical and fictional literature; theoretical and conceptual method – for analyzing the conceptual and terminological system of research and identifying the specifics of introducing the artificial intelligence technology in creative process; comparative-typological – to compare the peculiarities of the functioning of mechanized “actors” with the acting skills of human performers. The article explores the threat perception and uncanny valley concepts to study the perception of a robot–actor by an audience. The author examines the process of human interaction with a robotic body: from the moment of interest, interaction to the moment of rejection of the robot by a person (audience).
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Demeshchenko, Violeta. "From Theater to Cinematography: Creative Search of Les Kurbas." Culturology Ideas, no. 18 (2'2020) (2020): 109–19. http://dx.doi.org/10.37627/2311-9489-18-2020-2.109-119.

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The article examines the artistic path and creative pursuits of Les Kurbas, the Ukrainian and soviet director, who undoubtedly remains an outstanding figure in the history of Ukrainian cultural life in the 1920s and 1930s. He was the founder of Ukrainian political theater, and later philosophical theater; also fruitfully worked in early cinematography. The article emphasizes the relevance of studying the creative work of the director, his original creative method of educating actors nowadays. In his own way, Kurbas became a standalone theatrical institute for young people, raised more than four dozen professional directors who later became theater managers and directors of Ukrainian theaters, teachers. The director created Ukrainian theater and cinema school of acting; his innovative artistic ideas still remain relevant today. He developed his own aesthetic-theatrical concept of conditional-metaphorical theater based on life itself. Being the man of art, Kurbas influenced the formation of stage constructivism in Ukrainian theatrical art. In addition to the positive memories of his contemporaries, we also encounter some legends, various testimonies and assessments of events of that time, which create a certain mythological space around the artist. Hence, today we need to carefully analyze numerous documentary evidence, facts, memoirs, literary and theatrical sources, as well as try to be objective in reconstructing events and reflecting on the fate and work of the director.
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Dissertations / Theses on the topic "Acting Actors Theater Method acting"

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Rossi, Marion O. "Life skills and actor training : pedagogical attitudes and approaches /." view abstract or download file of text, 1999. http://wwwlib.umi.com/cr/uoregon/fullcit?p9957573.

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Thesis (Ph. D.)--University of Oregon, 1999.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 192-197). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9957573.
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Dennis, Daniel C. "Sing Together! Choral Singing as a Supplementary Training Method for Actors." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1163.

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Voice and speech training for the actor has traditionally defined itself as distinct from the vocal training of the musical theatre or opera singer. The separation in philosophy and practice by trainers of actors and singers reflects the resultant capabilities and proclivities of our performers. Those performers generally sing or act, and if asked, will sometimes do both, but may damage their voices in the process. This study aims to explore and reveal how actors may develop a greater sense of courage and trust, have easy access to breath, find freedom in their bodies and voices, become better listeners and therefore more engaging actors, uncover untold depths of characterization, unearth resonance that communicates easily, and discover the music of rhythm and melody in their spoken voices, all through the use of ensemble singing in the actor's voice and speech classroom.
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Hardcastle, Terry. "CONSIDERING STRASBERG’S METHOD IN THE TWENTY-FIRST CENTURY: A NEW PEDAGOGY." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/2992.

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Student of Richard Boleslavsky and Maria Ouspenskaya, co-founder of the Group Theatre, Artistic Director of the Actors Studio, founder of the Lee Strasberg Theatre and Film Institute, and developer of The Method, Lee Strasberg is one of the most famous acting teachers of the twentieth century. In the same way a concert pianist must practice her scales daily to maintain expertise, Strasberg believed an actor must regularly practice the use of sense memory to be emotionally authentic. Using Strasberg’s Method, this is achieved through a combination of relaxation and concentration, which leads to a sense of truth in performance. The Method, a praxis built on Stanislavski’s own approach to actor training, since the death of its founder has slacked off in popularity. This is noteworthy for the gold standard status the Method once held in the United States. More easily accessible, less process oriented, more demonstrably obvious and observable techniques such as the work of Michael Chekhov have taken stronger hold in some academic circles. Empirical evidence seems to suggest that a mixture of prejudice for the Method and possible personal dislike for Strasberg the man has made this so. Curious to discover if the Method still held value for the next generation, I committed to teaching a Method class to Virginia Commonwealth University undergraduates. Drawing on my experience at the Strasberg Institute studying under Anna Strasberg, Geoffrey Horne, my practical experiences on stage, and research available after Strasberg’s death, I created my own approach to The Method. Through analysis of my students’ Method acting work and my own teaching, I intended to learn the efficacy and practicality of Strasberg’s Method as we begin the twenty-first century: what we can keep, what we must let go, and what we can change for the better.
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Cormier, Jason Briggs. "Learning to listen the collaboration and art of the SITI Company /." Columbus, Ohio : Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1133357032.

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Kilarski, Sharon K. "An emerging theory of actor learning : the actors' perspective /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9988676.

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Radvan, Mark. "Towards Bodydialogue : developing a process for enhancing the actor's physicalisation skills in rehearsal and performance." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16025/.

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Bodydialogue is a coherent and simple system of exercises, rehearsal techniques, principles and aesthetic values which in application enhance the actor's ability to physicalise dramatic action and behaviour. It can be applied directly within a rehearsal process to heighten the physical life of a play or performance event, or it can be taught separately as a system for providing student actors with concrete skills in movement, stagecraft and physical characterisation. Unlike many other movement systems taught in drama schools, such as Mime, Dance, Acrobatics or Alexander, which are grounded in their own discipline base, Bodydialogue is grounded in Stanislavsky's Acting through the Method of Physical Action, and as such is centered in the discipline of text-based Acting. It is thus first and foremost an approach to Acting via Physical Action and Physical Behaviour, rather than a study of Movement, or a movement genre. This thesis describes the development and application of Bodydialogue physicalisation techniques to a workshop production of miss julie downunder - an adaptation of Strindberg's Miss Julie - and situates the place of these techniques within contemporary Acting discourse.
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Schmidt, Larry C. "A study of discourse and acting pedagogy : how a culturally specific acting pedagogy from Russia transformed itself into the American method /." free to MU campus, to others for purchase, 2002. http://wwwlib.umi.com/cr/mo/fullcit?p3074440.

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Stanford, Valerie. "Finding theatre from within| Augusto Boal's Games for Non-Actors in an Introduction to Acting class." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10150592.

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This thesis explores the application of Augusto Boal’s exercises as a basis for an Introduction to Acting class, wherein students are required to move outside of their comfort zones in order to change their perceptions of themselves and of the world around them. I will demonstrate that Boal’s Games for Actors and Non-Actors effectively challenges students’ boundaries in a fun and engaging way, thereby preparing them for the task of performing. Through his techniques, students find it easier to socialize, overcome shyness, and acquire the courage that is required to act.

Chapter 1 charts my introduction to Boal and the decision to explore his exercises as a basis for a non-major acting course. By describing what I deem necessary and strive to achieve in such a class, I explain the goals that I hope to accomplish each time I teach.

Chapter 2 outlines Boal’s philosophies and his agenda for challenging social injustice. I will focus specifically on his Theatre of the Oppressed and Forum Theatre using the notion of the “Actor and Spect-actor”.

Chapter 3 details my own in-class application of Boal. In each instance of interactions with students, I compare the projected outcome versus the actual results, thereby evaluating the ii exercises’ success or failure. I discuss my students’ reactions to the exercises through collected written data.

Chapter 4 reflects on using Boal’s exercises in the future. This includes the changes I would make in the presentation and set-up of the exercises, effective adjustments, and discussing his work as being appropriate for a beginner’s class.

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Woods, Simon. "Suzuki and beyond : adapting the Suzuki actor training method /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19801.pdf.

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KOEPPE, JULIE ANN. "A STUDY OF VOCAL HYGIENE PRACTICES IN CLASSICAL VOICE, MUSIC THEATER AND ACTING STUDENTS." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1022771222.

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Books on the topic "Acting Actors Theater Method acting"

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Johnston-Brown, Anne. The ten commandments of theater: The gospel according to Stanislavski, for young actors. Hanover, NH: Smith & Kraus, 2007.

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Johnston-Brown, Anne. The ten commandments of theater: The gospel according to Stanislavski, for young actors. Hanover, NH: Smith & Kraus, 2007.

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Gordon, Mel. Stanislavsky in America: A workbook for actors. New York: Routledge, 2009.

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Gordon, Mel. The Stanislavsky technique: Russia : a workbook for actors. New York: Applause Theatre Book Publishers, 1988.

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The Stanislavsky technique: Russia : a workbook for actors. New York: Applause Theatre Book Publishers, 1987.

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Strasberg's method as taught by Lorrie Hull: A practical guide for actors, teachers, and directors. Woodbridge, Conn: Ox Bow Pub., 1985.

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Stanislavsky, Konstantin. An actor prepares. New York: Routledge, 1989.

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Stanislavsky, Konstantin. Un actor se prepara. México, D.F: Editorial Diana, 1985.

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Stanislavsky, Konstantin. Building a character. New York: Routledge, 2003.

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Stanislavsky, Konstantin. Building a character. New York: Methuen Theatre Arts, 1987.

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Book chapters on the topic "Acting Actors Theater Method acting"

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Moston, Doug. "The Actors Studio." In Method Acting Reconsidered, 285–89. New York: Palgrave Macmillan US, 2000. http://dx.doi.org/10.1007/978-1-349-62271-9_19.

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"Kallippides on the Floor Sweepings: The Limits of Realism in Classical Acting." In Actors and Icons of the Ancient Theater, 117–39. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444318036.ch4.

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Lacey, Mark. "Curing the Acting Habit: The Feldenkrais Method, Actors, Compulsion and the Performing Arts Industry." In The Feldenkrais Method in Creative Practice. Methuen Drama, 2021. http://dx.doi.org/10.5040/9781350158412.ch-011.

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Connolly, Maeve. "Materializing the Body of the Actor." In Theorizing Film Through Contemporary Art. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462989467_ch03.

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Actors, extras, and models, engaged in scripted or staged performances, have featured prominently in artists’ film and video since the 1990s. But some artists have also used more specifically sculptural means to materialise acting bodies within the physical space of the gallery. Focusing on works by Cécile B. Evans, Nathaniel Mellors, and Clemens von Wedemeyer, this chapter explores how artists have articulated changes in the imagination of the human body, within the realm of acting and the performance of emotional labour. Their works suggest an emerging tension between the body conceived as an organic store of experience, following the logic of Method acting, and the body conceived as a surface for the display of signals, to be scanned and recognised by non-human things.
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Shulman, Terry Chester. "A Lusty, Growing Thing." In Film's First Family, 42–50. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813178097.003.0006.

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During his first year at Vitagraph, Maurice changes movies forever from the actor’s standpoint. He refuses to build sets, thereby creating the job description of screen actor. He normalizes his fellow actors’ movements to create the “slow motion” method, thus formulating the first natural acting techniques for screen players. In becoming the first screen heartthrob, he achieves a level of popularity as yet unseen by any actor.
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Hedberg Olenina, Ana. "Scores of Movement." In Psychomotor Aesthetics, 105–72. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190051259.003.0004.

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Chapter 3 examines the approaches to film actor training developed by the Soviet avant-garde filmmaker Lev Kuleshov in the early 1920s. Inspired by the radical innovations of contemporary theater, Kuleshov’s perspective on film acting relied on Ivan Pavlov’s and Vladimir Bekhterev’s reflexology, as well as psychotechnics and Taylorist labor efficiency training. Based on archival materials, this chapter establishes Kuleshov’s connection to the Central Institute of Labor (Tsentral’nyi Institut Truda) in Moscow, which promoted a utopian program of ingraining effective working skills in the nervous systems of factory workers by optimizing their trajectories of movement. Kuleshov embraced the concepts and techniques popularized by this Institute. He theorized his actors’ ideal performance in terms of energy expenditure and maximal use of the audiences’ attention span. My analysis of Kuleshov’s program for actors’ bodily discipline scrutinizes the training apparatuses he relied on in the hopes of achieving geometrically precise, rhythmical gestures, which he believed could form a legible “ornament” in rapid montage.
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Atkins, Joseph B. "From the Lexington Stage to a New York Park Bench." In Harry Dean Stanton, 33–50. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813180106.003.0004.

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This wide-ranging chapter follows Harry Dean Stanton in his first years after military service. He returned to Lexington, Kentucky, and enrolled at the University of Kentucky, eventually making his way to the university's Guignol Theatre where a performance as Alfred Doolittle in Pygmalion convinced him to pursue a career in acting. He continued his studies at the prestigious Pasadena Playhouse in California, spending several years there before signing up with a traveling, all-male chorus group that took him across the country. Like many actors, including his fellow Kentuckian and future friend Warren Oates, Harry Dean tried to put his training to work in New York City, but after spending more time on park benches than the stage he joined with the Strawbridge Children's Theater and was back traveling cross-country. He tired of this before long, and it was back to California, this time for good.
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Atkins, Joseph B. "Zelig in La La Land." In Harry Dean Stanton, 63–76. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813180106.003.0006.

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Harry Dean Stanton's career expanded over the next decade with multiple appearances on television and in films such as director Monte Hellman's Ride in the Whirlwind in 1966 and a year later Cool Hand Luke, which fixed his face, if not his name, in many moviegoers' minds. Between roles he hung out with fellow actors such as Jack Nicholson and Warren Oates at Schwab's Pharmacy and Chez Paulette. He and Nicholson even became housemates for a while and took acting lessons from blacklisted actor/teacher Jeff Corey and actor Martin Landau, both influenced by the Stanislavski-inspired Method school of acting eschewed at the more traditional Pasadena Playhouse. Harry Dean and his pals discussed philosophy and Beat poetry and became part of the hip set in Laurel Canyon. Meanwhile, back home, Ersel moved to Florida with her new husband, Stanley McKnight. She and her actor son stayed in touch but often through horrific fights over the phone. Stanley died at 51 the same year Cool Hand Luke came out. Harry Dean's father never remarried, worked his barbershop, and lived in a room behind it.
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Curran, Kevin. "Social Networking." In Encyclopedia of Multimedia Technology and Networking, Second Edition, 1316–26. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-014-1.ch177.

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It is in man’s nature to form communities, and it is also in his nature to communicate. Psychologists hold that man is moved by instincts, desires which can only find full satisfaction in a community and by communication. Social networking (or network theory) is not an exact science and may reasonably be termed a social catalyst in discovering the method in which problems are solved; organisations are run to the degree in which individuals succeed in achieving goals (Freeman, 2004). In the network theory, social relationships are discussed in terms of nodes and ties: the former individual actors, the latter, relationships within networks frequently described diagrammatically where the node is a point, and the ties, lines of social connectivity (Scott, 2000). Such social network diagrams can be used to measure the social capital of individual nodes/actors: a measurement, or determination of the usefulness of the network to the actors individually, as it is that measurement of usefulness to the individual which not only assesses the social capital of actors, but which by extension may shape and expose the very nature of the network as an entity. Loose connections (weak ties) reflect the greater possibility of openness in the network (Granovetter, 2003). This, in turn, is more likely to bring new ideas, new opportunities, and greater scope for innovation than close networks with many redundant ties. It is clear that “the friendly network” composed of friends already have common knowledge, common interests, and common opportunities. Better still, it has access to wider social geographies. Again, the group with links to many networks has potentially greater access to other social arenas and a more extensive field of information, and thus the individuals, have links to a diversity of networks, as opposed to those within a single network, and can exercise more power and exact more influence by acting as brokers between their own and other networks not directly linked. This “polylinkage,” or “filling social holes,” places greater emphasis on the qualities or attributes of individuals. The ability of individuals to influence their success depends largely on the nature and structure of their network. Figure 1 illustrates a social network. Company A is a large fashion design house, a national company.
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Conference papers on the topic "Acting Actors Theater Method acting"

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Vishnyakova, Elizaveta, Olga Vishnyakova, Alla Minyar-Beloroucheva, and Polina Sergienko. "L2 teaching to PR undergraduates through theatre techniques elements." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.01001v.

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Modern methods of L2 teaching aimed at improving its efficiency to overcome language barriers require the construction of the learning climate for undergraduates to develop professional skillsand competencies essential for their academic communication with ease and pleasure. The purpose of this article is to demonstrate one of the ways of achieving educational goals by creating positive emotions that PR undergraduates experience during L2 classwork through the introduction of the elements of theatrical techniques, which can help educators perform the tasks required to instill creativity. Effective L2 acquisition by PR undergraduates is allegedly best achieved through neutral emotions. Expressive and emotional actions in class create theatre-like atmosphere that disseminates positive emotions fostering education. The research has demonstrated the necessity to introduce theatre techniques elements into L2 teaching to PR undergraduates.
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Vishnyakova, Elizaveta, Olga Vishnyakova, Alla Minyar-Beloroucheva, and Polina Sergienko. "L2 teaching to PR undergraduates through theatre techniques elements." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.01001v.

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Modern methods of L2 teaching aimed at improving its efficiency to overcome language barriers require the construction of the learning climate for undergraduates to develop professional skillsand competencies essential for their academic communication with ease and pleasure. The purpose of this article is to demonstrate one of the ways of achieving educational goals by creating positive emotions that PR undergraduates experience during L2 classwork through the introduction of the elements of theatrical techniques, which can help educators perform the tasks required to instill creativity. Effective L2 acquisition by PR undergraduates is allegedly best achieved through neutral emotions. Expressive and emotional actions in class create theatre-like atmosphere that disseminates positive emotions fostering education. The research has demonstrated the necessity to introduce theatre techniques elements into L2 teaching to PR undergraduates.
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3

Boszczowski, Eduardo Bomfim, Carlos Renato Aragonez de Vasconcellos, Kleber Vini´cius da Cruz, Ozias Pereira Filho, and Sarah Marcela C. Cartagena. "Best Practices for Third Party Pipeline Damage Risk Management With Social and Environment Responsibility: Transpetro—Petrobras Transporte S.A." In 2008 7th International Pipeline Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/ipc2008-64595.

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The present paper describes the tasks developed along 550 kilometers of PETROBRAS TRANSPORTE South Region right-of-way where there are more than 1000 kilometers of onshore pipelines. This work was based on the company Integrity Management Program, with focus on risk reduction due to third party damage, promoting social accountability and environment preservation. On the Introduction there are presented pipeline failures stats in USA and Europe. It’s visible in the stats that third party damage is one of the most common pipeline failures responsibleness. In the next topics we list the mitigation methods based on the Integrity Management Program that involves risk analysis; inspection plans based on risk; plan check and program audits. On the Detailed Plan we present standards and normal requirement for pipeline integrity; the Company GIS — Geographic Information System — where you find the pipeline data with its position and depth from ground level; the action plan to correct anomalies found during inspections; and the awareness programs performed through the Communication System to answer the solicitations registered at TRANSPETRO Call Center. We also present the social and environment Responsibility Program that includes the Identification of the communities around our right-of-way, the social and environment classification and the projects development to guaranty the installation integrity that contribute to the communities quality life raise. The Communication Plan for the stakeholders is based on API 1162 – Public Awareness Programs for Pipeline Operators. This plan is accomplished by a team of different professionals such as communication and social service professionals and others. They visit Public Officials (City Hall, Civil Defense, Fire Department, Road Police and Public Services Providers), Excavators, land owners and communities with the objective to guide and publicize safe and co-responsible manners to pipeline installations. It’s remarkable the creation of especial projects in the communities along the right-of-way, such as Communitarian vegetable fields, mobile movie theaters and educational effort in high schools. We also present the results from the Integrity Program to prevent third party damage, the improvement promoted and the recommendations to make it better. At the end we present the costs involved in all actions to prevent third party damage by Brazil South Region Pipeline Operator.
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