To see the other types of publications on this topic, follow the link: Acting Actors Theater Method acting.
Dissertations / Theses on the topic 'Acting Actors Theater Method acting'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 32 dissertations / theses for your research on the topic 'Acting Actors Theater Method acting.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
Dennis, Daniel C. "Sing Together! Choral Singing as a Supplementary Training Method for Actors." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1163.
Full textAbstract:
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.
3
Hardcastle, Terry. "CONSIDERING STRASBERG’S METHOD IN THE TWENTY-FIRST CENTURY: A NEW PEDAGOGY." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/2992.
Full textAbstract:
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.
4
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.
Full text
5
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.
Full text
6
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/.
Full textAbstract:
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.
7
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.
Full text
8
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.
Full textAbstract:
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.
9
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.
Full text
10
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.
Full text
11
Horn, Elizabeth Georgia Brendel. "Developing the individual to strengthen the whole the application of viewpoints training to impact the social cognitive development of actors in a high school ensemble /." Orlando, Fla. : University of Central Florida, 2010. http://purl.fcla.edu/fcla/etd/CFE0002996.
Full text
12
Ferreira, de Mendonça Guilherme Abel. "Acting theory as poetic of drama : a study of the emergence of the concept of 'motivated action' in playwriting theory." Thesis, Brunel University, 2012. http://bura.brunel.ac.uk/handle/2438/7331.
Full textAbstract:
Playwriting theory has, from its beginning, been concerned with the search for the essential nature of dramatic writing. Early playwriting treatises (poetics) defined the essential aspects of drama as being the plot (creation of sequences of fictional events), the moral character of its heroes, the idea of enactment, or the rhetorical and lyrical qualities of the text. These categories were kept through later treatises with different emphasis being put on each category. An understanding of drama as a sequence of fictional events (plot) has been central in acting theory. Modern theories and techniques centred on Stanislavsky’s ideas rely heavily on rehearsal methods that carefully establish the sequence of actions of the characters in a play as a result of psychological motivations. This method was described by Stanislavsky in An Actor’s Work on a Role, published in 1938, and is known as the Method of Physical Actions. This thesis reassesses the definition of playwriting as consisting essentially in the creation of a plot populated by suitable characters. Rather than discussing playwriting theory in isolation it attempts a bridge between acting theory and playwriting theory by using the Method of Physical Actions as an equivalent to plot. Acting theory is thus considered as a theoretical justification for the centrality of plot. The method used is hermeneutic — a systematic interpretation of poetics, unveiling in almost an archaeological manner the relevance of the essential definitions of drama, such as character, source, genre, and language to the concept of plot. The chronological path of development of dramatic theories is shown to be gradual: from the strict obedience to the narrative line imposed by the mythic sources, in classical treatises; through to an interest in the lyrical expression of the predicament of specific characters, in neoclassical theory; to an awareness of specific social types in the eighteenth century; and, finally, to the conception of the plot as a product of the mental life of individual characters in modern theory.
13
Parker, Herb. "Bark Like a Dog!: Outrageous Ideas for Actors." Digital Commons @ East Tennessee State University, 2013. http://amzn.com/0615866573.
Full textAbstract:
This book, a short and easy read with common sense coaching and easy to follow exercises, takes beginning acting students through techniques and improvisations that will help them overcome perhaps their greatest fear: making “The Big Choice.” Using sound examples from classical as well as contemporary plays, Herb Parker makes it easier for the theatrical neophyte by making the case that a play is “about human beings caught in an outrageous situation, caused by love.”
“Actor, director, teacher Herb Parker has given us a splendid new book about acting. He analyzes this ancient art in clear, precise, engaging prose while dispensing acute, methodical and perceptive advice. Brilliant actor that he is, Herb understands the craft, the exceptional director gently leads the actor toward a fully realized performance and the thoughtful, caring teacher explains it all to the reader (student). This is the book of acting you need and one you will cherish.”https://dc.etsu.edu/etsu_books/1052/thumbnail.jpg
14
Inouye, Kevin. "Method in Motion: Grounding a Movement Pedagogy in the Lessons of Stanislavski." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2690.
Full textAbstract:
This thesis is an exploration of movement pedagogy as a continuation of basic acting lessons from Stanislavski. Using the example of an introductory semester of movement instruction, physical acting and movement concepts are explained in terms of their connection to and derivation from universally accepted acting terminology and ideas. This is put forth as a way to facilitate the synthesis of movement instruction with other acting curriculum, as well as providing a new way to view some familiar acting concepts. Several specific examples are explored in more depth as case studies in physical equivalents to the intellectual, visual, or emotional techniques familiar to all with a basic knowledge of Stanislavski based acting principles.
15
Brown, Gregory Hippolyte. "Blurred Lines Between Role and Reality: A Phenomenological Study of Acting." Antioch University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1575378494184268.
Full text
16
Malone, Samuel C. III. "An Actor's Method to Building the Character of Hamlet in The Tragedy of Hamlet, Prince of Denmark." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2096.
Full textAbstract:
This thesis will set out to examine the process needed in order to deliver the character of Hamlet as a fully dimensional, complex human being who transcends time periods and class distinctions to connect with any audience of any background. This text will include biographical information about the author, William Shakespeare, as well as historical information about the circumstances and atmosphere surrounding the birth of this play. It will also include information about other performances, which will serve as references for comparison in terms of character development. Included in the scored actor’s script are the Sanford Meisner Techniques of moment-to-moment analysis and actioning as it relates to Konstantin Stanislavski’s system, as well as any additional actor’s notes that may have contributed to character development.
17
Matthews, Venita J. "An Actor's Method to Building the Character of Mother Superior in AGNES OF GOD." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2369.
Full textAbstract:
ABSTRACT
Agnes of God is the story of a nun (Agnes) who gets pregnant while living in a convent. She almost dies after giving birth to a baby, who was later found dead in a garbage can. The cast consists of three members: Agnes; Mother Miriam Ruth (Mother Superior); and Dr. Martha Livingstone, the court appointed psychiatrist. Faith is tested as Dr. Livingstone draws closer to uncovering the truth surrounding the conception, birth, and death of Agnes’ baby.
I performed the role of Mother Superior in the UNO production of Agnes of God. This thesis documents my rehearsal and performance journey. It includes a rehearsal journal and an evaluation of my performance. The play was performed in the Lab Theatre of the Performing Arts Center on November 5 and 6; November 14 and 15; and on November 19 and 20.
Agnes of God is based on a true story.
Keywords: Mother Superior, Agnes, Pielmeier, Sacrifice, Nun, Maureen Murphy
18
Roberts, Jhanneu. "The True Cost of Our Entertainment: An Inside Look to Modern Method Acting and its Consequences." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1322.
Full textAbstract:
This goal of this thesis is to examine the physical and emotional cost associated with modern and personal interpretations of Strasberg-based method acting. Although many method actors have created excellent award-winning performances, many were left with emotional and physical harm to their body. In this thesis I will argue that there are actors that can deal with the after effects however, the risks associated with Strasberg-based method often pose both mental and physical health risks to the actor that outweigh the benefit they contribute to the production. To understand what Strasberg-based method acting is I will examine the practices of Stanislavski, the founder of the original “method,” and teacher and actors Stella Adler and Sanford Meisner, and their methods to creating a character. Strasberg, Adler, and Meisner, who are believed to have created their methods based off the Stanislavski Acting System, had many disagreements about Stanislavski’s method. What many now call method acting, incorporates certain techniques created by Stanislavski that actors then use to create their own method.
19
Doria, Roberto Rodriguez. "Atores são herois : um processo de construção da mascara a partir de objetos cotidianos : Companhia Teatral Nosconosco." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284742.
Full textAbstract:
Orientador: Rubens Jose Souza BritoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-07T11:26:28Z (GMT). No. of bitstreams: 1 Doria_RobertoRodriguez_M.pdf: 10788175 bytes, checksum: 584dfd87e2b95ad594052728b9c20c8d (MD5) Previous issue date: 2005
Resumo: O texto que constitui este trabalho é uma reflexão teórica sobre processo criativo através da máscara desenvolvida com os atores da Companhia Teatral Nosconosco do Rio de Janeiro. Este trabalho parte de uma experiência prática na construção de um espetáculo teatral e seu desenvolvimento criativo com objetos de uso cotidiano que levam o ator ao estado da máscara e sua reflexão teórica
Abstract: The text of the present work is a theoretical reflection about the creative process through the mask, developed with actors from the Companhia Teatral Nosconosco, from Rio de Janeiro. This work starts from a practical experience in a play making of using daily ordinary objects that take the actor into the mask state and its theoretical reflection
Mestrado
Mestre em Artes
20
Reiser, Douglas William. "A Dramatic Interpretation of Jake's Women Thesis in An Educational Setting." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etd/1486.
Full textAbstract:
The area of investigation in the Jake's Women's thesis resides with the actor's preparation in the portrayal of a character who struggles with the pain of loss and betrayal. The acting technique explored centers around the psychology behind the emotional and physical aspects of acting. The results rely on the thoughts and feelings of sensitivity in the actor's body. Development of an actor's inner technique and outer instrument is explored and implemented. An actor's belief in the body to produce effective imaginary people or place within a scene rests in the actor's ability to allow his or her instrument to create real-life emotion. This process of belief is accomplished through the trained technique of relaxation exercises, thus, giving the actor the discipline to concentrate on the process of creating a believable character. The human condition becomes the central focus in the honest representation of a man suffering to forgive and forget his troubles.
21
Facio, Robert J. "How to Tame a Shrew (11 Things I Hate About Her) An Actor's Method to Characterizing Petruchio in The Taming of the Shrew." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1794.
Full textAbstract:
The Taming of the Shrew is an early comedy that exposes the oddities we take for granted: curious conventions, wild assumptions, gender roles, relationships, social status, fashion, and everything else we know so defectively. The given circumstances of the script and Petruchio are specific in choice, yet broad in interpretation. Petruchio, the catalyst behind Katherine’s character arc, needed to not only be believable in his ways, but likeable by the audience.
This thesis examines the process required to successfully develop and bring to life the character of Petruchio to our modern audience. It includes historical background information on William Shakespeare and the origins of the play itself, Sanford Meisner’s Techniques (moment-to-moment analysis & actioning) and Konstantin Stanislavski’s system are included with the scored actor’s script, journals recorded by the actor to verify his victories and defeats during the six-week production process and critiques to support the success of the production.
22
Milne, Christina Lucy. "Group devised performance : the study of a group devised performance piece as a rehearsal method in a high school environment /." View thesis, 1998. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030902.114718/index.html.
Full text
23
Silva, Emerson Almeida Silva e. "A consciência corporal que antecede a cena: aspectos anatômicos e cinesiológicos das ações físicas na preparação do ator." Escola de Teatro, 2015. http://repositorio.ufba.br/ri/handle/ri/27069.
Full textAbstract:
Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-24T16:53:55Z
No. of bitstreams: 1
Dissertação Emerson Almeida PPGAC 2015.pdf: 10306725 bytes, checksum: 2f3f53af78606022beae5445c26d2ae7 (MD5)Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-08-24T18:24:03Z (GMT) No. of bitstreams: 1 Dissertação Emerson Almeida PPGAC 2015.pdf: 10306725 bytes, checksum: 2f3f53af78606022beae5445c26d2ae7 (MD5)
Made available in DSpace on 2018-08-24T18:24:03Z (GMT). No. of bitstreams: 1 Dissertação Emerson Almeida PPGAC 2015.pdf: 10306725 bytes, checksum: 2f3f53af78606022beae5445c26d2ae7 (MD5)
Esta dissertação tem por objetivo analisar e apresentar possibilidades que facilitem a consciência corporal do ator para o desempenho da cena, apoiando-se nos conceitos da anatomia e da cinesiologia. Parte-se do pressuposto de que o ator, ao conhecer a sua estrutura orgânica, estimula a sua percepção corporal e a consciência dos movimentos necessários à criação do papel. No campo das Artes Cênicas a pesquisa se apóia na ideia de proporcionar o treinamento do ator por meio de técnicas corporais que o levem a ampliar o conhecimento de si próprio para atingir prontidão necessária à encenação e tem como eixo o trabalho das ações físicas e como referências o Método das Ações Físicas de Stanislávski, o Teatro Laboratório de Grotowski e a Antropologia Teatral de Barba. Além das referências e cruzamentos teóricos a pesquisa é caracterizada como estudo de caso com enfoque descritivo, de abordagem qualitativa, uma vez que discute e questiona, por meio de relatos de atores e experiências práticas realizadas em salas de ensaio, se a inserção de conteúdo relativo ao construto orgânico do ser humano no contexto da preparação corporal, sob o ponto de vista da anatomia e da cinesiologia, com o suporte do Pilates e da Reeducação Postural Global (RPG), pode propiciar o ator a acessar a consciência corporal no intuito de facilitar o processo de composição das ações físicas na construção de um papel.
This thesis aims to analyze and present possibilities to facilitate body awareness actor for the performance of the scene, leaning on the concepts of anatomy and kinesiology. It starts from the assumption that the actor, to know its structure, stimulates your body perception and awareness of movements needed to create the role. In the Performing Arts field the research is based on the idea of providing the actor's training through body techniques that lead to increase the knowledge of himself to achieve readiness needed for staging and its axis is the work of physical actions referenced by Method of Physical Actions of Stanislavsky, Grotowski Laboratory Theatre and the Theatrical Anthropology Barba. Beyond references and theorists cross the search, characterized as a case study with a descriptive and qualitative approach, discusses and questions, through reports of actors and practical experiments carried out in rehearsal rooms, if the inclusion of content related to organic construct the human body in the context of preparation, from the point of view of anatomy and kinesiology, with the support of Pilates and Global Postural Reeducation (RPG), may provide the actor to access the body awareness in order to facilitate the composition process of physical actions over the development of a scenario.
24
Colla, Ana Cristina 1971. "Caminhante, não ha caminho. Só rastros." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284047.
Full textAbstract:
Orientador: Suzi Frankl SperberTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-15T18:09:36Z (GMT). No. of bitstreams: 1 Colla_AnaCristina_D.pdf: 8377075 bytes, checksum: ba7c43959a498a2aab38da24874afca5 (MD5) Previous issue date: 2010
Resumo: O presente projeto se desdobrou entre o território da prática e o da escrita. Duas linhas de investigação paralelas e complementares, possíveis no trabalho do ator. Após dezessete anos de pesquisa coletiva no Lume como atriz pesquisadora, tornou-se urgente vivenciar um novo desafio, colocar-me novamente em situação de risco, experimentar um processo prático de pesquisa que conduzisse a uma ressignificação de meus códigos corporais e à ampliação dos mesmos. Propus-me a construção de um espetáculo solo sob a orientação e direção do dançarino de Butoh Tadashi Endo, cujo mote criativo foram memórias de infância. Após meses de investigação deu-se origem ao espetáculo "Você", nossa narrativa poético-prática. Foram realizadas, até o momento, 39 apresentações públicas, nas cidades de São Paulo, Goiânia, Araraquara e Campinas. Quando nos propomos a uma narrativa escrita sobre um processo de criação de um espetáculo teatral e os procedimentos que envolvem essa investigação e a apresentação cênica resultante desse processo, nossa narrativa da cena, circulamos entre duas narrativas distintas, cujos receptores também possuem diferentes expectativas: os que acessam através da escrita, esperam encontrar "viabilidade", comprovação, verossimilhança, nos procedimentos aplicados e o receptor da poética cênica pretende ser encantado. Racional e sensível. Como unir as duas vias na narração escrita, sendo também ela uma criação poética capaz de seduzir, conduzindo o leitor aos meandros da criação, associando a ela a informação, compreensível em si? O que se ambicionou foi que através da narração dos fatos se desse a organização dos procedimentos da experiência adquirida e na vivência das experiências a construção da memória do corpo, na organização dos procedimentos sua repetição e possível transmissão. Experiência, narração e informação. Imagem e memória. O ator que se propõe a escrever sai da cena para integrar outros papéis, o de narrador de uma experiência particular e única, do qual é parte integrante. Qual é a narrativa possível foi uma das buscas desse projeto. Como organizar procedimentos de maneira a auxiliar sua visualização, análise e avaliação bem como sua transmissão, mantendo o princípio do frescor da experiência? Elaborar uma narrativa, também ela, capaz de provocar uma experiência em quem a recebe. Organizar uma experiência singular de maneira a ser plural
Abstract: This Project developed itself among territories of practicing and writing. Two parallel ways of investigation, possible in the actor's work. After 17 years of collective research at "Lume" as a researcher actress, turned out urgent to live a new challenge. To put myself again in a risky situation, to experiment a practical research process that led me to a new position of my body codes and their enlargement. I propose myself to the creation of a solo show under the direction and orientation of a Butoh's dancer - Tadashi Endo - which creative motives were childhood memories. After some months of investigation the show "You" was created, our poetic and practical story. Until this moment, 39 public shows were presented in the following cities: Sao Paulo, Goiania, Araraquara and Campinas. When he propose ourselves to a written narrative about a creative process of a theatric show and all the procedures that involves these investigations and the scenic presentation that results from this process, our narrative scenes, we went through two different narratives which also have two different expectations: those that have the access of the writing expect to find viability, proves and similarity in the applied procedures. And the receptor of the scenic poetry intends to be enchanted, rationally and sensitively. How can you put together these two ways of written narrative which are also the poetic creation, able to seduce, leading the readers to the ways of creation, and associating these ways to the information comprehensive in itself? The ambition was that through the narrative of the facts, the organization of the procedures of the experiences could happen, and in living these experiences, the construction of the body memory, their repetition and possible convey. Experience, narrative and information. Image and memory. The actor that proposes to write gets out of the scene to integrate other parts, the part of the narrator of a unique and particular experience that makes him a full part of that. The possible narrative was one of the searches of this project. How to organize procedures in a way that could help its view, analysis and evaluation, as much as it's convey keeping the principle of the experience freshness? To elaborate a narrative that it's also able to cause an experience to the one that receives. To pass through a singular experience and turn it in a plural way
Doutorado
Artes Cenicas
Doutor em Artes
25
Dambrauskaitė, Jonė. "Dramos aktorių scenos judesio ugdymo ypatumai." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130801_092028-58242.
Full textAbstract:
Šio tyrimo tikslas – atskleisti dramos aktorių scenos judesio ugdymo ypatumus,
aptariant dramos aktorių ugdymo istorinius aspektus, apžvelgiant Europos ir Lietuvos dramos
aktorių ugdymo raidą, žymiausių teatro pedagogų dramos aktorių ugdymo metodus bei
dramos aktorių scenos judesio ugdymo programas. Tam atlikta teatro istorijos ir žymiausių
teatro pedagogų literatūros analizė. Empiriniu tyrimu siekta atskleisti Lietuvos muzikos ir
teatro akademijos, kaip seniausios ir giliausias tradicijas turinčios dramos aktorių ugdymo
aukštosios mokyklos, scenos judesio dėstymo ypatumus, pasitelkiant 4 scenos judesio
dėstytojų interviu ir paskaitų stebėjimo duomenų analizę.
Teoriniame tyrime išryškėjo du pagrindiniai aspektai. Pirma, kad judesinės aktoriaus
raiškos ir aktorių ugdymo poreikio atsiradimas buvo pagrindinis profesionalaus teatro
atsiradimo XX a. pr. veiksnys. Antra, kad profesionalus Lietuvos teatras ir vaidybos ugdymo
mokyklos formavosi rusų teatro kultūros įtakoje, todėl aktorių ugdyme iki šių dienų
remiamasi rusų mokyklos aktorių ugdymo tradicija. Rusų ir lietuvių aktorių rengimo
panašumą atskleidė ir Lietuvos ir Rusijos scenos judesio ugdymo programų palyginimas.
Tiriant Lietuvos muzikos ir teatro akademijos scenos judesio dėstymo ypatumus, taip
pat išryškėjo rusų mokyklos bruožai, vyraujantys ir aktorių ugdymo praktikoje. Pabrėžtas
scenos judesio programų... [toliau žr. visą tekstą]The purpose of the paper is to reveal the features of stage movement education for actors. Considering the importance of the theatre education development in the historical perspective, the paper reveals and analyses the specific features of the stage movement education for actors, by providing comprehensive historical-based analysis of the literature of theatre history, particularly focusing on the theatre education development in Lithuania and Europe, treating the methods for educating actors that the worldwide theatre educationalists apply and considering different syllabuses of stage movement education. The paper also treats the empirical research by interviewing four lecturers of the subject of stage movement and analyzing the data collected during the observation of the actual lectures. It reveals the specific features of stage movement education in the Lithuanian Academy of Music and Theatre having the name of the theatrical school with the oldest and deepest traditions in education of actors in Lithuania. Two main aspects were revealed in the theorical research. Firstly, the need for education of actor’s movement expression was the major factor for the professional theatre to arise in the beginning of XX century. Secondly, the professional theatre in Lithuania and schools of theatrical education were developed under the influence of Russian theatre... [to full text]
26
Mason, Melissa. "The revenge of the second banana a female sidekick's survival guide." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4803.
Full textAbstract:
I returned to school to receive an MFA in Musical Theater for many reasons, but paramount was the need to further explore and develop my range as an actress. Throughout my career, I have played a variety of roles, but none as challenging or possibly as rewarding as the man-hungry secretary "Charlie" in James Valcq's Zombies from the Beyond, produced by the Jester Theatre in Winter Garden, FL. Performing this role allowed me to achieve one of my objectives when entering the grad program at UCF: to transition from a classical ingenue or soubrette into a leading lady or character actress; making Zombies from the Beyond the perfect capstone to my graduate experience. During the 1950s, American cinema was filled with sci-fi movies such as Forbidden Planet, The Thing from Another World, and Invasion of the Body Snatchers. Each movie depicted an otherworldly creature as the villain (a metaphor for the relationship between the United States and the USSR) who had only one purpose: total domination. Zombies from the Beyond aptly reveals the absurdity of the hysteria and paranoia surrounding the "cold war" and the "space race" that dominated America in the 1950s. The play makes comic use of the "double-red agent" and presents the belief that the space race and cold war inevitably were tied together, while examining Russia's dirty tactics in the struggle for power. In addition to the historical ramifications of Zombies from the Beyond, post WWII America saw an explosive growth in female empowerment. Through each female character''s thoughts and actions on stage, Valcq's musical tackles the struggle many women faced between the new feminist ideals and old-fashioned morals. My character, Charlene "Charlie" Osmanski, is the iconic man-hungry, working girl with a big heart (aka "The Sidekick"). She is a woman very much caught between the traditional values of the 1950s and the progressive, more feminist attitudes starting to take hold in the country. After accepting the role in Zombies from the Beyond, I realized my responsibility was to breathe new life into the role of the comedic sidekick while remaining true to the original vision and traditions that had been set forth by such brave comic pioneers as Rose-Marie, Thelma Ritter, and Vivian Vance. Faced with this daunting task and the enormity of creating a role with such a prominent historical and societal lineage, I asked myself, "What does an actor need to know in order to become the perfect sidekick?" To answer this compelling question and to ensure I did not fail in my task, I researched actresses who play a similar archetype; studied the evolution of the female comedienne; examined the audience's relationship to the sidekick; and discussed the character's future as an integral force in contemporary theatre, all in a convenient survival guide. Ultimately, the evolution of the mainstream audience and their shifting requirements for entertainment impact the sidekick's portrayal on stage; however, since post-modernistic audiences no longer need one definitive stereotype or archetypal character, the ideas I set forth are not finite or absolute in nature. Instead, they create a basic foundation that serves as a guide for the actor when creating a similar character while ensuring the sidekick's place as a relevant and sustainable character for generations to come.ID: 030646275; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 81-83).
M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Musical Theatre
27
Martins, Laédio José. "Análise ativa: uma abordagem do método das ações físicas na perspectiva do curso de direção teatral da Universidade Federal de Santa Maria-RS." Universidade do Estado de Santa Catarina, 2011. http://tede.udesc.br/handle/handle/1353.
Full textAbstract:
Made available in DSpace on 2016-12-08T16:52:09Z (GMT). No. of bitstreams: 1
laedio.pdf: 1928778 bytes, checksum: 517cc5b1e67ad609534e5970f8233042 (MD5)
Previous issue date: 2011-08-25Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This paper discusses the process of the artistic training described in Theater Directing from the perspective of the Active Analysis Method. The method was developed in Russia by Konstantin Stanislavsky (1863-1938) and transmitted by one of his students, Gueorgui Tovstonógov (1915-1989) to Nair Dagostini (19_ _), the first Brazilian to study at the State Institute of Theater, Film and Music Leningrad (1978-1981). The learning reverberates in the Course of Direction and Theatre Interpretation of the Federal University of Santa Maria / RS in the period of 1994-2004, during this time it was possible for her to apply some of the methods of the paradigm found in the USSR. The Educational Policy Plan which Dagostini helped to formulate was built on a common ground for actors and directors and the Active Method of Analysis held the post of unifying center of the process of education and training of the artist. The approximation of the method was given gradually over the first three semesters and was still being applied as a methodology for implementation of the transposition of the text to the scene during graduation. Active Analysis via the Method of Physical Action - that enables the acquisition and mastery of the elements of the Stanislavski System - provides the lead actor in the director route to achieving the central idea of the work that is assembled by inserting the actor on the world of the play and unfolding through the action proposed by the circumstances given the intimacy of the relationships established by the author, what's behind the words
Este trabalho trata do processo de formação artística em Direção Teatral descrito da perspectiva do Método da Análise Ativa. O Método foi desenvolvido na Rússia por Konstantin Stanislávski (1863-1938) e transmitido por um de seus alunos, Gueorgui Tovstonógov (1915-1989) à Nair Dagostini (19_ _ ), primeira brasileira a estudar no Instituto Estatal de Teatro, Cinema e Música de Leningrado (1978-1981). Seu aprendizado reverbera no Curso de Direção e Interpretação Teatral da Universidade Federal de Santa Maria/RS no período de 1994-2004, tempo durante o qual pode aplicar algumas das metodologias do paradigma que encontrou na URSS. O Plano Político Pedagógico que Dagostini ajudou a formular foi construído sobre uma base comum para atores e diretores e o Método da Análise Ativa ocupou o lugar de centro unificador do processo de educação e formação do artista. A aproximação ao Método se dava gradualmente ao longo dos três primeiros semestres e continuava sendo aplicado como metodologia para a concretização do processo de transposição do texto para a cena durante a graduação. A Análise Ativa, por intermédio do Método das Ações Físicas que possibilita a aquisição e domínio dos elementos do Sistema Stanislávski faculta o diretor conduzir o ator no percurso de concretização da ideia central da obra que se monta, inserindo o ator no universo da peça e desvendando através da ação proposta pelas circunstâncias dadas a intimidade das relações estabelecidas pelo autor, o que está por detrás das palavras
28
Lyra, Yarasarrath Alvim Pires do Carmo. "Protocolo lunar: processos criativos para a cena do teatro de animação na perspectiva de quem constrói e anima." Escola de Teatro, 2014. http://repositorio.ufba.br/ri/handle/ri/27199.
Full textAbstract:
Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-31T18:32:10Z
No. of bitstreams: 1
Texto completo_28_2_14_Ed_28_03_2014.pdf: 6894931 bytes, checksum: 5cc533a586af75f8297528e031545cfa (MD5)Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-09-03T17:17:17Z (GMT) No. of bitstreams: 1 Texto completo_28_2_14_Ed_28_03_2014.pdf: 6894931 bytes, checksum: 5cc533a586af75f8297528e031545cfa (MD5)
Made available in DSpace on 2018-09-03T17:17:18Z (GMT). No. of bitstreams: 1 Texto completo_28_2_14_Ed_28_03_2014.pdf: 6894931 bytes, checksum: 5cc533a586af75f8297528e031545cfa (MD5)
Esta pesquisa se refere a um estudo prático-teórico, na linha de Poéticas e Processos de Encenação em Artes Cênicas e foi conduzida pelo desejo da pesquisadora de ampliar os conhecimentos de sua formação como artista e professora de teatro. Trata-se da produção de um contexto poético-reflexivo, no qual se cruzam três grandes campos: Processos Criativos, Imaginário e Teatro de Animação. Teve como objeto disparador a prática da atriz que construiu e animou seu próprio personagem-boneco no espetáculo Protocolo Lunar. Neste considerou-se as interfaces do Teatro de Animação como encenação contemporânea com estratégias metodológicas colaborativas. No referido contexto, foram compreendidos, interpretados e tornados visíveis Princípios e Procedimentos criativos de concepção, construção e atuação do personagem-boneco para cena a partir do ponto de vista de quem constrói e anima. Trata-se de metodologia adequada a processos de criação artística, que opera com a Abordagem Compreensiva apresentada por Sonia Rangel, a qual, entre outros autores, se apoia na Teoria da Formatividade de Luigi Pareyson. Igualmente, foram considerados os pensamentos de outros autores para fundamentar a pesquisa, tais como Ana Maria Amaral, Valmor Beltrame, Henryk Jurkowski, Gaston Bachelard, Cecília Almeida Salles, Ítalo Calvino, Klauss Vianna, Marco Souza. A pesquisa de campo foi desenvolvida a partir de Laboratórios Criativos com o Grupo Os Imaginários, além de incluir o diálogo com três outros artistas, Gil Teixeira, de Salvador, Bahia; Anibal Pacha, de Belém do Pará e Marcelo Lafontana, de Vila do Conde, Portugal, por meio de entrevistas. Eles foram selecionados pelo critério de também partilharem prática cênica semelhante. A perspectiva, além de registrar a memória de processos criativos em Teatro de Animação, é poder articular com outras pesquisas realizadas, colaborar com a discussão, o aprofundamento, os desdobramentos e a ampliação das reflexões que já existem neste campo.
This research refers to a practical-theoretical study, in the Poetics and Processes Staging Performing Arts in line and was driven by the desire of the researcher to broaden the knowledge of his training as an artist and teacher of theater. It is the production of a poetic-reflexive context in which intersect three major fields: Creative Processes, Imaginary and Animation Theater. Object was to trigger the practice of the actress who has built his own character and animated puppet-show in Lunar Protocol. This was considered the interfaces of the Animation Theater as contemporary staging with collaborative methodological strategies. In that context, were understood, interpreted and made visible Principles and Procedures of creative design, construction and performance character-puppet to the scene from the point of view of who builds and animates. It is suitable for artistic creation processes, which operates the Comprehensive Approach by Sonia Rangel, which, among others, rests on the theory formativeness Luigi Pareyson methodology. Also, we considered the thoughts of other authors to support research, such as Ana Maria Amaral, Valmor Beltrame, Henryk Jurkowski, Gaston Bachelard, Cecilia Almeida Salles, Italo Calvino, Klauss Vianna, Marco Souza. The field research was developed from Creative Labs with Imaginary Group and includes dialogue with three other artists, Gil Teixeira, Salvador, Bahia; Anibal Pacha, of Belém do Pará and Marcelo Lafontana, Vila do Conde, Portugal, through interviews. They were selected by the criterion also share similar stagecraft. The prospect, and to record the memory of creative processes in Animation Theater is able to articulate with other surveys conducted, supporting the discussion, deepening, the unfolding and expansion of reflections that already exist in this field.
29
Scott, Alexis Leah. "Madness methods, practical instincts." 2013. http://hdl.handle.net/2152/21187.
Full textAbstract:
This paper serves as a reflection on my journey to pursue graduate studies in Acting, the specific tools acquired through training at UT Austin, the development of my particular methods of approach in response to such training, and the intention/s with which I now continue my career as a performer and theatre practitioner.text
30
Sosulski, Michael Joseph. "Body, text, and nation : theatrical reform in eighteenth-century Germany /." 1999. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9934123.
Full text
31
Walker, Matthew. "Beyond empathy : addressing physical style for the role of Motilla in 'the Bewitched' /." 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR51610.
Full textAbstract:
Thesis (M.F.A.)--York University, 2009. Graduate Programme in Theatre : Acting.Typescript. Includes bibliographical references (leaves 53-54). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR51610
32
Steiger, Amy Lynn. "Actors as embodied public intellectuals: reanimating consciousness, community and activism through oral history interviewing and solo performance in an intertextual method of actor training." Thesis, 2006. http://hdl.handle.net/2152/3502.
Full text