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Relevant bibliographies by topics / Acting and actors

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Academic literature on the topic 'Acting and actors'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "Acting and actors"

1

Esslin, Martin. "Actors Acting Actors." Modern Drama 30, no. 1 (1987): 72–79. http://dx.doi.org/10.1353/mdr.1987.0044.

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Karki Kshetri, Dibendra Bahadur. "Seeking Stanislavski Techniques of Actor Training in Nepalese Context from His Book An Actor Prepares." Journal of Development and Social Engineering 8, no. 01 (December 31, 2022): 29–38. http://dx.doi.org/10.3126/jdse.v8i01.54265.

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This paper aims at searching for techniques of actor training in Nepal associating similarities (or differences if any) theorized by Constantin Stanislavski (1863-1938), a Russian theatre director in his book An Actor Prepares. The acting ‘system’ also known as ‘method’ is an approach to acting, developed in the 1920s to support actors in the process of embodying and enacting a role. Although acting may not be an exact science, there is a method to the madness as the package of three-month actor training in Nepali Acting Schools (Gurukul, Actor’s Studio, Mandala, and Sarwanam) like Stanislavski’s. When the body is true, the soul reacts. When the body lies, the soul gets frightened. Where there is truth and belief, actors have genuine, productive, specific action, experiences, the subconscious, creativity and art. Actors communicate others in creative and convincing ways. People look for creative instincts, innate talent, and intellectual capacity to perform. Performance, connected to everyday life, is both believing and living. Theatre/Film has been considered as an important platform to showcase socio-political, eco-cultural or historic- religious realities in Nepal.

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Chen, Charles P., and Komila Jagtiani. "Helping actors improve their career well-being." Australian Journal of Career Development 30, no. 1 (March 24, 2021): 55–63. http://dx.doi.org/10.1177/1038416220983945.

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It is generally assumed that visible actors in the performing arts industry maintain overall wellness despite the knowledge that an actor’s life is often characterized by instability. While an actor’s performance is often critiqued subjectively and critically, the variety of occupational risks associated with an actor’s well-being is less closely examined. Prior research suggests those working within the acting profession experience significant levels of distress. As a result, this article, first, aims to address the issues confronting the actor, in particular, anxiety associated with erratic employment, vulnerability to adverse working conditions, and conflict in identity owing to the impact of acting coupled with the effect of economic insecurity. Second, the paper follows with a consideration of key counselling theories to help strengthen this diverse group’s personal well-being and career prospects. By examining counselling interventions, the application of these theories can allow actors to develop optimally in acting industries worldwide.

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Bezghin, Oleksii, and Olga Uspenska. "Peculiarities of acting education in the domestic artistic and educational process." Culturology Ideas, no. 23 (1'2023) (2023): 129–42. http://dx.doi.org/10.37627/2311-9489-23-2023-1.129-142.

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The article discusses the specifics of actors training in Ukraine in the context of the competency-based approach to education codified in the Bologna process and the new Ukrainian educational law. To answer their research questions, the authors analyze competencies for stage actors at the bachelor’s and master’s levels defined by three different Ukrainian institutions of higher education. The authors acknowledge the many benefits of the competency-based approach to education, including improved transparency and comparability of degrees, and increased student and teacher mobility, but also suggest it has its pitfalls. For actors training, the competency-based approach creates a problem of defining core competencies reflective of the specifics of actors training focused on memory, voice, movement, and speech, as well as differentiating between competencies at the bachelor’s and master’s levels. The authors find little difference between bachelor and master level competencies in the programs they analyze and ask if actors not pursuing a teaching career should be required to obtain a master’s degree to attain “complete higher education.” The authors bring up an important issue of preserving unique national actor schools formed by renowned stage masters as the core element of actor’s education. They also suggest festivals of actor schools as a way of learning approaches to actors training.

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Guo, Yuchen. "What Is Acting?" Journal of Aesthetics and Art Criticism 80, no. 1 (November 25, 2021): 58–69. http://dx.doi.org/10.1093/jaac/kpab066.

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Abstract We can portray or take on the role of someone whom we are not. For example, a professional actor can play the role of a fictional character who does not exist in the real world, although she believes she is not that person. This behavior is named “acting.” My aim here is to locate the necessary and sufficient conditions of acting. In my view, acting is a process of communication between actors and audiences. One of its necessary components is that actors use their own features to represent those features that their characters have; another is that actors intend to make their audiences imagine that they are themselves identical to their characters. In this article, I specify these two components, critique other views of the definition of acting and distinguish acting from other similar processes.

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Savchenko, N. L., and G. D. Emelin. "Personal Predictors of Pedagogical Assessment of Ability in Student Actors." Psychological-Educational Studies 16, no. 2 (July 3, 2024): 116–27. http://dx.doi.org/10.17759/psyedu.2024160207.

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<p>One of the main way for the study of acting can be considered the process of training student-actors, in which the mechanisms and techniques of creating an image and assuming a role are unfolded and highlighted. Special attention in the study of this problematic should be paid to the factors contributing to the mastery of the profession. It is assumed that personal characteristics play a key role in the issue of successful training of a student-actor, because it is the actor's personality that can be considered as the main tool that the actor has in the art of acting transformation. The aim is to identify personal predictors of pedagogical assessments of acting abilities among student actors. Psychodiagnostic study using the following techniques: “16 personality factors” by R. Kettell and “Short portrait questionnaire of the Big Five” by M.S. Egorova and O.V. Parshikova, the scale of average assessments of acting abilities. It was revealed that two personality traits are associated with the pedagogical assessment of the acting skills of an actor student: “consciousness” (B5-10) and “sensitivity” (I, 16PF). They also contribute to this average estimate. In this regard important factors for the success of mastering the acting profession are consciousness, organization, focus on maintaining relationships in the learning process, as well as the sensitivity of the student actor to internal and external changes, the richness of his emotional experience.</p>

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Wijdicks, Eelco. "Actors acting out neurology." Lancet Neurology 14, no. 6 (June 2015): 573. http://dx.doi.org/10.1016/s1474-4422(15)70040-2.

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., Gaurav, and Smriti Bhardwaj. "The Stanislavski System: A Psychophysical Acting Training Perspective." International Journal of Religion 5, no. 10 (July 4, 2024): 3035–42. http://dx.doi.org/10.61707/x2wm2j08.

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Konstantin Stanislavski was a well-known actor and director who developed a system to train actors. Stanislavski emphasised on the significance of establishing a strong link between psychology and physicality in actor training and performance. It laid the groundwork for what later became to be known as the psychophysical approach. Stanislavski’s contributions to the art of acting were groundbreaking and he challenged conventional acting practices that relied solely on external gestures. He advocated for a more authentic and internally driven style of acting. He urged actors to delve deep into the psychology of their characters and connect their emotions to their physical actions. Throughout his career Stanislavski directed, taught, and extensively wrote about acting. He was also the first one to use the term “Psychophysical” in relation to theatre studies and actor training. He also developed a method of “Physical Actions” to help actors better understand the complexities of actor training. This paper explores the groundbreaking contribution of Stanislavski and its contemporary relevance.

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Cantrell, Tom. "‘In the doc’: Acting Processes in Brian Hill's Docudrama, Consent." Journal of British Cinema and Television 13, no. 3 (July 2016): 351–67. http://dx.doi.org/10.3366/jbctv.2016.0324.

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This article explores Brian Hill's award-winning docudrama, Consent, from the point of view of the actor. Consideration of actors’ processes has remained conspicuously absent in analyses of docudrama or documentary television. To redress this balance, this article is based on new interview material with Anna Madeley, one of the two leading actors in the piece. A complex blend of fact and fiction, Consent follows a fictional rape trial from the rape itself, the reporting of the attack to the police, the victim's visit to a doctor, through to the court case, the jury's deliberations and the judge's verdict. Actors Anna Madeley and Daniel Mays played the victim and perpetrator, but all of the professionals with whom they came into contact – the police, medical professionals, lawyers, judge, court staff and jury members – were played by real people in their professional capacity. To facilitate a consideration of the actor's perspective, Anna Madeley's acting processes are explored in detail, with particular focus on her use of memory and recollection, and on her experience of improvisation and the question of agency that the project prompts. This approach demonstrates the value of placing actors’ experiences at the heart of research into television performance, as well as raising searching questions about the way that we understand and codify performance in docudrama.

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Rajaravivarma, K. R., and Suresh Chandra Das. "THERUKUTHU AS A TRAINING METHOD FOR CONTEMPORARY THEATRE ACTOR." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (July 30, 2022): 115–22. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.147.

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The contemporary acting in theatre has resembling in many features of the Tamil traditional theatre form Therukuthu. So, this discussion intended to establish the possibilities of the Therukuthu as a method of actor training for contemporary theatre actors. The primary concern of the discussion includes the actor and acting of contemporary theatre; the way how actor presents the character and communicates with the audience as co-actors, which are the two significant features of contemporary theatre. So, the discussion considers at those factors of Therukuthu form and acting or performance those applicable to the contemporary theatre actor, to consider Therukuthu as a potential Contemporary actor training method.

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Dissertations / Theses on the topic "Acting and actors"

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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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Pippen, Judith Irene. "Inscribing actors' bodies : towards an epistemology of movement praxis in actor training." Thesis, Queensland University of Technology, 1998.

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This thesis explores some of the issues involved in movement praxis in actor training, contextualising itself within the QUT Academy of the Arts in Brisbane and arts research in Australian Universities. To elucidate these issues the researcher applies the epistemology of Humberto Maturana's constitutive ontology (the philosophical underpinnings of the biology of cognition) in multiple sites of performance theory and practice, with particular reference to the movement learning of actors. The research process has focused on publishing articles and a monograph for different groups of observers of the phenomenon under study: for Feldenkrais Practitioners, actor and drama educators, and researchers in performance studies. These articles, which are presented in a modified form in the thesis, develop the conceptual framework of the thesis; identify issues in movement training for performance, explore these issues and track movement training to performance. Insights garnered are then applied in the researcher's practice as director of The Rivers of China by Alma De Groen. Because the researcher occupies different sites, such as that of actor in training, of director, of actor educator and Feldenkrais Practitioner, the research is polysituational and results in a heteroglossic text. This text coheres around the central proposition that live performance can be constituted in terms of the particular dynamic of human interrelationship involved in the contract to play, and that there will be more coherence in the movement preparation of actors for live performance if that project is viewed in terms of the dynamics of this interrelationship rather than from mechanical or instrumental theories of the moving body.

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Krueger, Tonia. "Jessica Tandy : a twentieth century acting career /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486463321625118.

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Fereday, Luzita. "The shifting voice: Investigating accent and dialect training for West Australian actors." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1722.

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This masters research examines accent and dialect training for actors in the Western Australian context and seeks an understanding about what aural, embodied and cognitive attributes an actor needs in order to move from one accent to another. In particular, this research explores the characteristics of Australian dialects as grounds for the acquisition of the Standard British accent or Received Pronunciation. The purpose of this research was to identify the expertise required when teaching an accent to acting students in pre-professional levels of tertiary training. This practice-led approach to the research included interviewing, observation, the circulation of questionnaires, and my own reflective practice as a voice and dialect coach on several stage productions. The participants for this research included experts in the field of vocal and dialect training, students at two tertiary institutions in Western Australia, the Western Australian Academy of Performing Arts and Curtin University’s production of Dear Charlotte, in 2013. This thesis presents an analysis and research findings of vocal awakenings spring-boarding from working on the play, Dear Charlotte, a practical component of this research. The research has confirmed the benefits of phonetics as an important aspect of accent acquisition. The discussion focuses on the techniques used and the challenges actors face when making the shift from their idiolects to Received Pronunciation. It outlines the importance of an actor’s cognition, listening, and embodiment as facets of voice that need attention when making accent and dialect shifts. In addition to the process of enhancing and enriching my own practice as a voice and dialect coach, this research aims to contribute to understandings of accent and dialect training and the diversity of the needs from the perspective of Western Australian actors.

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Billew, Barrett Slade. "Flow-Acting: Modern Sports Science and the Preparation of Actors." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/775.

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Theatre artists and acting teachers throughout history have sought to find and create presence. By combining modern sports science with an understanding of systems of actor training I have suggested an approach that makes presence a trainable skill. My coach Dr. Scott Sonnon, developer of the Circular Strength Training System, has refined modern sports science to emphasize the development and maintenance of flow-state. This state allows the athlete to respond openly and freely within a constantly changing situation.By combining my life long study of acting with my eight years of work with Coach Sonnon I am developing a system to teach actors the skill of cultivating flow. This work will enhance the actor's presence and ability to handle the stress of performance while developing a strong, supple, and coordinated psychophysical instrument. Video of examples of the exercises can be found in the accompanying materials.This work was created in Microsoft Word 2004 for Mac.

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Cook, Laura. "A "spyback" on three years of graduate training." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1240242619.

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Thesis (M.F.A.)--Kent State University, 2009.
Title from PDF t.p. (viewed Jan. 12, 2010). Advisor: Charles Richie. Keywords: Michael Chekhov, Stanislavski, Three Sisters, Urinetown, The Diviners. Includes bibliographical references (p. 91).

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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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Bester, Lelia. "Assessment of a training programme for actors to make the shifts from theatre acting to film acting." Thesis, University of Pretoria, 2019. http://hdl.handle.net/2263/75514.

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The lack of standardised and structured training, underscored by an academic discourse on film acting, necessitates the designing of a training programme that critically engages with this notion. This study aims to contribute to film acting as a field of study by designing, teaching and assessing the efficacy of a film acting training program. The film acting programme in question addresses the shifts between acting for theatre and acting for film, based on and contributing to scholarly discourse, whilst taking various learning preferences into account. This study makes use of mixed methods to answer the main research question – How does one teach the shifts from theatre acting to film acting? The answer to this question includes defining the shifts from theatre acting to film acting and the means through which these shifts can be taught to individual actors. Four sub-aims are consequently investigated. The first sub-aim examines the performance shifts from theatre acting to film acting. The commonalities in acting in both media are defined, so that the differences may become clear. The findings of sub-aim one serves as impetus for the second sub-aim, which explores several embodied acting approaches to determine how these approaches can be applied to the teaching of the differences between acting for theatre and acting for film. Pedagogical strategies pertaining to teaching and learning are consequently studied, and the elements of these strategies are incorporated in the designing and teaching of the film acting training programme in question (sub-aim three). The final aim focuses on the efficacy of the designed programme. Feedback from the facilitator, the participating actors and a panel of experts is discussed. It is concluded that this study offers a structured film acting training programme that facilitates the shifts from theatre acting to film acting while adhering to students’ thinking and learning preferences.
Thesis (PhD)--University of Pretoria, 2019.
Drama
PhD
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Parker, Herb. "Bark Like a Dog!: Outrageous Ideas for Actors." Digital Commons @ East Tennessee State University, 2013. http://amzn.com/0615866573.

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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

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Yuen, Nancy Wang. "Performing authenticity how Hollywood working actors negotiate identity /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1692357331&sid=13&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Books on the topic "Acting and actors"

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Schatz, Howard. In character: Actors acting. Edited by Ornstein Beverly J. New York: Bulfinch Press, 2005.

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Peter, Thomson. On actors and acting. Exeter, Devon, UK: University of Exeter Press, 2000.

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James, Anthony. Acting my face. Jackson: University Press of Mississippi, 2014.

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Conlon, Laura. Actors. Vero Beach, FL: Rourke Press, 1994.

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O'Neil, Brian. Actors take action: A career guide for the competitive actor. Portsmouth, NH: Heinemann, 1996.

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Mary, Luckhurst, and Veltman Chloe, eds. On acting: Interviews with actors. London: Faber and Faber, 2001.

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Anthony, Slide, ed. On actors and acting: Essays. Lanham, Md: The Scarecrow Press, 1998.

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Barkworth, Peter. About acting. London: Methuen Publishing, 2001.

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Hubbard, Valorie. The actor's workbook: Becoming a working actor. Boston: Allyn & Bacon, Pearson, 2009.

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Fairbanks, Stephanie S. Spotlight: Solo scenes for student actors. Colorado Springs, Colo: Meriwether, 1996.

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Book chapters on the topic "Acting and actors"

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Robinson, Michael. "Actors and Acting." In Skill, Technology and Enlightenment: On Practical Philosophy, 109–21. London: Springer London, 1995. http://dx.doi.org/10.1007/978-1-4471-3001-7_12.

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Rowse, A. L. "Actors and Acting." In Shakespeare’s Self-Portrait, 57–67. London: Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-17836-0_8.

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Girard, Dale Anthony. "Acting the Fight." In Actors on Guard, 321–31. 2nd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003015772-23.

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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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Baron, Cynthia. "The Actors’ Laboratory in Hollywood." In Modern Acting, 189–215. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-40655-2_10.

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Behrens, Electa, and Øystein Elle. "Singing Pedagogy for Actors." In Critical Acting Pedagogy, 179–95. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003393672-16.

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Leach, Robert. "Restoration actors and acting." In An Illustrated History of British Theatre and Performance, 332–41. First edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019–: Routledge, 2018. http://dx.doi.org/10.4324/9780429463686-44.

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Russell, Paul. "Auditions Actors Encounter." In ACTING: Make It Your Business, 210–31. Second edition. | New York, NY : Routledge, 2021. | “First edition published by Back Stage Books 2008.”: Routledge, 2020. http://dx.doi.org/10.4324/9781315145648-8.

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Hayes-Roth, Barbara, Robert van Gent, and Daniel Huber. "Acting in character." In Creating Personalities for Synthetic Actors, 92–112. Berlin, Heidelberg: Springer Berlin Heidelberg, 1997. http://dx.doi.org/10.1007/bfb0030573.

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Baron, Cynthia, and Yannis Tzioumakis. "Actors and the Eras of American Independent Cinema." In Acting Indie, 19–43. London: Palgrave Macmillan UK, 2020. http://dx.doi.org/10.1057/978-1-137-40863-1_2.

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Conference papers on the topic "Acting and actors"

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BOUREANU, Alexandru. "NEW METHODS OF APPROACHING CONTEMPORARY ACTORS ACTING." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s14.045.

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Johnson, Aaron M., and Sidney Axinn. "Acting vs. being moral: The limits of technological moral actors." In 2014 IEEE International Symposium on Ethics in Engineering, Science, and Technology (ETHICS). IEEE, 2014. http://dx.doi.org/10.1109/ethics.2014.6893396.

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Neal Reilly, William, and Leonard Eusebi. "Approaches to Extending Game-Theoretic Analyses to Complex, Real-World Scenarios." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001853.

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In domains ranging from military engagements to business to politics to games, competitors take actions to gain an advantage over others. Game theory has been used extensively since the 1950s to analyze such domains and to gain insights into the best moves for all competitors. While it is a powerful tool for analysis, game theory often falls short when applied to real-world encounters. Game-theoretic approaches over-simplify by assuming each side is composed of rational actors that attempt to maximize a single-valued utility function. Even with that simplification, real-world scenarios are often difficult to formalize as a solvable “game,” and even when the problem can be defined as a game, it is computationally expensive to calculate the best actions for each actor.We will present research that extends game theory to include multiple forms of utility for each actor. This enables us to recast traditional, albeit simple game-theory games like the Prisoners’ Dilemma and the Ultimatum Game, which produce results at odds with real-world expectations when confined to traditional measures of utility (i.e., minimizing jail time and maximizing money). By adding utility measures like commitment and fairness, we can generate a Pareto-optimal set of solutions that are better at recreating and explaining real-world behavior than traditional single-utility game theory. In our formulation, the actors are still acting rationally, they are just factoring in a more complex set of tradeoffs that our multi-utility game theory can naturally model.We will also present research into a game representation scheme that lets the scenario modeler express real-world action-to-action constraints like “enables” and “blocks.” These constraints support basic reasoning about ordering of actions without having to build full search tress or reason about time generally. Accounting for these constraints also significantly reduces the space of possible solutions, making it tractable to find exact solutions for certain classes of complex scenarios.Finally, we will present a software toolkit that simplifies the process of defining a game and analyzing the plausible outcomes. The model building tool helps analysts capture the goals and motivations of each actor, the actions available, and how those actions affect goals or other actions. Using these models, the analysis suite calculates the Pareto-optimal choices for each actor in that scenario and helps analysts navigate the plausible outcomes. With these tools, decision makers can assess the value of their strategic options, even in cases where adversaries may choose actions traditional game theory would label incorrect.We have used the software toolkit to create and analyze several models, from simple games like rock-paper-scissors to a real-world political gray-zone conflict with 3 nation states, 23 possible actions, 18 different motivations, and 10^21 possible solutions. The results were computed in seconds and align with behavior of the real-world actors. Policy analysts without a background in computational modeling have also used the toolkit to create “backcasting” models of historical situations. These models successfully explained the behavior of the actors involved. These evaluations show that the toolkit is both useful and usable for analyzing real-world multi-actor interactions.

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Kolosová, Markéta. "Actors and Acting in the Schola ludus Cycle by John Amos Comenius." In Új eredmények a színház- és drámatörténeti kutatásban (17-19. század). Eszterházy Károly Katolikus Egyetem Líceum Kiadó, 2022. http://dx.doi.org/10.17048/ujeredmenyekaszinhaz.2022.181.

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Holmquist, Paul. "Architecture of/as Protest: Action, Place and the Concern for the World." In 110th ACSA Annual Meeting Paper Proceedings. ACSA Press, 2022. http://dx.doi.org/10.35483/acsa.am.110.57.

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What is the relation between political action and architectural space? How do protesters and other actors transform urban spaces into stages for envisioning and enacting political change? How do architectural places in turn support, condition or even elicit public action? How are architects and designers political actors, and how can architecture, design, and art be considered to ‘act’ within the public realm? These questions were taken as points of departure for an advanced research seminar in architectural theory taught at Louisiana State University in the fall of 2020. The course explored the role that architectural spaces and practices play in different forms and modes of political protest action, not only in light of the Black Lives Matter protests that year, but also the global urban protest movements, uprisings and events of the last decades across the spectrum of concerns from human rights to climate change. In this paper I discuss how the seminar sought to examine protest action within the ‘architectural’ perspectives of space, place, inhabitation and making, as well as the capacity of architecture and art practices to ‘act’ in the mode of protest within the political perspectives of agency, speech, the common and appearance. The seminar took as a primary framework the political philosophy of Hannah Arendt, and the intrinsic relation she posits between the places of the fabricated, common world and the very possibility of political action. I then consider how place comes to be at stake in architecture as a mode of protest in students’ research on a wide range of topics, issues, events and practices. I conclude by reflecting on how such an architecture of protest would comprehend a radical place-making, acting to help establish the conditions for political action, and to nurture, support and sustain them so that protest actors may enact and embody claims for justice in their own acting and speaking.

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Rughinis, Razvan, Daniel Rosner, and Stefania Matei. "HOW IT IS LIKE TO BE AN ENTREPRENEUR? A FRAMEWORK TO ANALYSING MULTIVOICEDNESS OF MEANING IN GAMIFIED LEARNING PLATFORMS." In eLSE 2016. Carol I National Defence University Publishing House, 2016. http://dx.doi.org/10.12753/2066-026x-16-032.

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In this paper, we consider the potential of gamified platforms to teach young people entrepreneurial values. We start from exploring a specific learning environment, #ritmdebusiness (Eng. #businessrhythm), designed to increase visibility of self-driven careers, while promoting the diversity of trajectories, motivations and models in successful Romanian businesses. The environment is supported by a digital platform used to assemble stories of leading entrepreneurs whose experience and products are made to account as subject of discussion. The gamified component of the platform consists in a competition organized to award users who propose valuable improvements and extensions of the presented products. Therefore, #ritmdebusiness also functions as a campaign developed both to enrich public discourse around the values of business creation and to increase awareness on the role of IT instruments in developing successful entrepreneurial projects. The digital platform unfolds a jointly constructed culture in which different actors collaboratively establish entrepreneurship as the referential system of ongoing interactions. The platform facilitates actions in which the meaning of entrepreneurship is socially defined and negotiated through locally orchestrated modes of engagement. In this sense, #ritmdebusiness becomes a medium to invite questioning on how entrepreneurship might be known, approached and learned, and on what type of resources might be integrated in the process. We consider that analytically employing the concept of voices, understood as an accountable embodiment of "perspective, conceptual horizon, intention and worldview" (Engestrom, 1995, p. 199) represents an effective practice in the design and implementation of powerful learning environments. By exploring different interactional patterns and discursive episodes in the production, use and evaluation of #ritmdebusiness digital environment, we propose a framework to analyse multivoicedness (Wertsch, 1991) in gamified learning platforms. We claim that voices are embedded in the design and rhetoric of the digital medium, becoming a function of framing discourse, positioning actors, mediating actions, and building technological infrastructure. Accordingly, we develop a typology that differentiate between (1) discursively-framed voices (voices that are intentionally introduced to stage subjective positions of various actors), (2) relationally-emergent voices (voices that arise in sequences of interactions and relations between various actors), (3) action-based voices (voices that develop in processes of acting upon the platform and engaging with it), (4) objectified-constructed voices (voices of objects, digital artefacts and technological infrastructure integrated within the platform), and (5) performative meta-voices (voices resulting in how the platform acts in the world as an independent reality). We illustrate how these types of voices operate in achieving the meaning of entrepreneurship within #ritmdebusiness media platform, thus theorizing on how learning process is being constituted by a multiplicity of dynamic and interacting cultural, institutional and socio-economic settings.

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Fassi, Davide, and Anna Meroni. "SOSpesa – Neighbourhood solidarity networks for the recovery, distribution, and valorisation of food surplus." In ServDes.2023 Entanglements & Flows Conference: Service Encounters and Meanings Proceedings, 11-14th July 2023, Rio de Janeiro, Brazil. Linköping University Electronic Press, 2023. http://dx.doi.org/10.3384/ecp203012.

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This paper presents and discusses the redesign of a charity activity, implemented in a neighbourhood of the city of Milan, into an innovative service called 'SOSpesa'. By creating, activating and experimenting a network of local actors to achieve a solidarity aim against food poverty, SOSpesa also implements a strategy to fight food waste and support local shops. Acting on a neighbourhood scale, it leverages the local context as a strength of the service, exploiting the networks already existing in the specific context of NoLo, the ‘North of Loreto’ area of the city. The paper illustrates the initiative's ongoing transformation from charitable action to structured service, working carefully not to distort its spirit and bottom-up commitment, and with the intention to frame it into a replicability strategy.

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Penalvo-López, Elisa, F. Javier Cárcel-Carrasco, Joaquín Montañana-Romeu, and Vicente León-Martínez. "University training in energy efficiency to respond to European EPBD objectives. USE Efficiency Project." In INNODOCT 2018. València: Editorial Universitat Politècnica de València, 2018. http://dx.doi.org/10.4995/inn2018.2018.8844.

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Energy efficiency in buildings is one of the main challenges in EU policy, since it is difficult to find common strategies and policies among Member States. This article describes the USE Efficiency project, an initiative to create a common training framework for energy efficiency systems in buildings based on the Energy Performance Building Directive (EPBD), through university actions. Universities and students are proposed as shining examples both for energy efficiency solutions and for energy efficiency behaviour. Moreover, involving university students guarantees acting on closest future market players and most convincing actor in diffusion of public opinions. The project aims to improve energy efficiency in university buildings and to establish training program for students around European countries. In fact, this activity involves 9 Universities (Technology Faculties and Faculties of Engineering) and 4 technological and market players from widespread countries in EU.Initially, a mapping of the methodologies used for evaluating energy efficiency at the different countries is carried out. Students are trained in energy efficiency methods and strategies, having real work experience implementing these Energy Performance Assessment (EPA) methodologies in their own buildings. The wide geographical coverage of the consortium allows an important crossover of methodologies to achieve technical results even to a professional and technological level. Then, the analysed buildings at each university are monitored in order to collect data, which are then used to plan solutions to improve energy performance of the university buildings. This paper describes this innovative training initiative, which involves students as main actors, working and interacting together with professors and technicians in order to improve energy efficiency in their educational centres.

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Meiren, Thomas, Christian van Husen, and Reuven Karni. "Laboratory Support for Service Engineering and Design." In ASME 2008 9th Biennial Conference on Engineering Systems Design and Analysis. ASMEDC, 2008. http://dx.doi.org/10.1115/esda2008-59155.

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Services are frequently developed unsystematically; and new ideas are not sufficiently conceptualized and tested. This results in expensive improvement measures at a later stage during the operations phase. This challenge is addressed through the recent launching of the “ServLab” facility at the Fraunhofer Institute for Industrial Engineering. It incorporates a stage for acting out service scenarios, furnishings to represent the physical environment, and a large virtual reality (VR) backdrop to simulate the “servicescape”. Situations are played out by professional actors or by employees and invited customers. In particular, the ServLab makes it possible to test services comprehensively. It is just this problem which has not been solved satisfactorily for a long time — neither in science nor in practice. It is still common for concepts to be developed “round the green table”, followed by an attempt to implement them directly. Potential mistakes are discovered very late or not at all, resulting in expensive rectification activities. The ServLab makes it possible to visualise new service concepts (using virtual reality), create an environment that is as close as possible to reality (e.g. by playing back sounds or introducing odours) and to rehearse the interaction between customers and employees with the support of actors (service theatre).

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Bojanowski, P., F. Bach, I. Laptev, J. Ponce, C. Schmid, and J. Sivic. "Finding Actors and Actions in Movies." In 2013 IEEE International Conference on Computer Vision (ICCV). IEEE, 2013. http://dx.doi.org/10.1109/iccv.2013.283.

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Reports on the topic "Acting and actors"

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Kelly, Luke. Humanitarian Diplomacy Definitions and Approaches. Institute of Development Studies, May 2024. http://dx.doi.org/10.19088/k4dd.2024.018.

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This rapid evidence review explores humanitarian diplomacy, acknowledging its varied definitions and approaches amidst a growing literature. It reveals the complexity of assessing success across different contexts and delineates the challenges faced by humanitarian actors, often acting from positions of relative weakness compared to states. Key findings include the importance of negotiation practices, challenges in working with non-state armed groups, and the effectiveness of invoking humanitarian principles. While evidence points to some success in promoting humanitarian norms, coordination mechanisms face obstacles. The review underscores the need for further research to understand the nuances of humanitarian diplomacy across diverse contexts.

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Idris, Iffat. Preventing Atrocities in Conflict and Non-conflict Settings. Institute of Development Studies, August 2022. http://dx.doi.org/10.19088/k4d.2022.137.

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Atrocity prevention refers to activities to prevent atrocity crimes against civilians. These include genocide, war crimes, crimes against humanity and ethnic cleansing, and can take place in both conflict and non-conflict settings. This points to the need to prioritise and implement atrocity prevention specifically, and not just as part of conflict prevention efforts. Atrocity prevention interventions are broadly of two types: operational (short-term responses) and structural (addressing underlying causes/drivers). These encompass a wide range of approaches including: acting locally (with local actors taking the lead in prevention activities); tackling hate speech, and promoting an independent and strong media; documenting human rights violations, and prosecuting and punishing those responsible (establishing rule of law). The international community should prioritise atrocity prevention, but work in a united manner, take a comprehensive approach, and give the lead to local actors. Atrocity crimes generally develop in a process over time, and risk factors can be identified; these traits make atrocity prevention possible. This rapid review looks at the concept of atrocity prevention, how it is distinct from conflict prevention, the different approaches taken to atrocity prevention, and the lessons learned from these. The review draws on a mixture of academic and grey literature, in particular reports produced by international development organisations such as the United Nations (UN) and USAID. The literature was largely gender-blind (with the exception of conflict-related sexual violence) and disability-blind.

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de Biolley, Magali. Le Leadership Humanitaire Local au Burkina Faso : Passer de belles paroles aux actes. Oxfam, December 2021. http://dx.doi.org/10.21201/2021.8588.

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Ce rapport s’intéresse d’abord aux causes et défis qui permettent d’expliquer la marginalisation des acteurs locaux en faisant notamment remonter leurs perceptions. Une deuxième partie met en valeur les bonnes pratiques existantes et proposer des actions concrètes pour renforcer la place des acteurs locaux et éventuellement le leadership humanitaire local (LHL) dans la réponse au Burkina Faso. Cette étude permet la proposition de pistes pour une réponse dirigée par les acteurs humanitaires locaux et qui soit plus adaptée aux besoins, plus rapide, plus durable, plus appropriée, et qui réponde enfin au changement de réalité imposé par l’augmentation des violences, tout en maintenant les populations au centre de la réponse. This report looks at the marginalization faced by local actors in the humanitarian response in Burkina Faso. It examines the causes and challenges of their experience, in particular by foregrounding their perceptions. The report highlights existing good practice and proposes specific actions to strengthen the role of local actors and potentially local humanitarian leadership in the response. The study suggests ways of developing a response led by local humanitarian actors that better meets needs and is faster, more sustainable, more relevant and, finally, more responsive to the changing reality dictated by increased violence, while keeping people at the centre.

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Molaei, Mohammad R. Generalized Actions. GIQ, 2012. http://dx.doi.org/10.7546/giq-1-2000-175-179.

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De Camino, Ronnie. Sustainable Forest Management in Latin America: Relevant Actors and Policies. Inter-American Development Bank, April 1999. http://dx.doi.org/10.18235/0011155.

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This paper analyzes the role of particular social and economic actors in the forest sector, and the impact of existing policies in the region. The aim is to visualize the options that are available to improve forest policies and practices that will in turn generate income and ensure sustainability with the active participation of the actors. Information presented in the document, as well as the conclusions on possible strategic lines of action with the participation of affected actors provide a good basis for discussion and will contribute to the improvement of the quality of the Bank's investment projects in this area.

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Baader, Franz, and Benjamin Zarrieß. Verification of Golog Programs over Description Logic Actions. Technische Universität Dresden, 2013. http://dx.doi.org/10.25368/2022.198.

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High-level action programming languages such as Golog have successfully been used to model the behavior of autonomous agents. In addition to a logic-based action formalism for describing the environment and the effects of basic actions, they enable the construction of complex actions using typical programming language constructs. To ensure that the execution of such complex actions leads to the desired behavior of the agent, one needs to specify the required properties in a formal way, and then verify that these requirements are met by any execution of the program. Due to the expressiveness of the action formalism underlying Golog (situation calculus), the verification problem for Golog programs is in general undecidable. Action formalisms based on Description Logic (DL) try to achieve decidability of inference problems such as the projection problem by restricting the expressiveness of the underlying base logic. However, until now these formalisms have not been used within Golog programs. In the present paper, we introduce a variant of Golog where basic actions are defined using such a DL-based formalism, and show that the verification problem for such programs is decidable. This improves on our previous work on verifying properties of infinite sequences of DL actions in that it considers (finite and infinite) sequences of DL actions that correspond to (terminating and non-terminating) runs of a Golog program rather than just infinite sequences accepted by a Büchi automaton abstracting the program.

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Koopmann, Patrick. Actions with Conjunctive Queries: Projection, Conflict Detection and Verification. Technische Universität Dresden, 2018. http://dx.doi.org/10.25368/2022.243.

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Description Logic actions specify adaptations of description logic interpretations based on some preconditions defined using a description logic. We consider DL actions in which preconditions can be specified using DL axioms as well as using conjunctive queries, and combinatiosn thereof. We investigate complexity bounds for the executability and the projection problem for these actions, which respectively ask whether an action can be executed on models of an interpretation, and which entailments are satisfied after an action has been executed on this model. In addition, we consider a set of new reasoning tasks concerned with conflicts and interactions that may arise if two action are executed at the same time. Since these problems have not been investigated before for Description Logic actions, we investigate the complexity of these tasks both for actions with conjunctive queries and without those. Finally, we consider the verification problem for Golog programs formulated over our famility of actions. Our complexity analysis considers several expressive DLs, and we provide tight complexity bounds for those for which the exact complexity of conjunctive query entailment is known.

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Ben-Zvi, Boaz. Disconnected Actions: An Asynchronous Extension to a Nested Atomic Action System. Fort Belvoir, VA: Defense Technical Information Center, January 1990. http://dx.doi.org/10.21236/ada221757.

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Nowa, Mphatso, Natalie Roschnik, Jacqueline Chalemera, Brian Mhango, Callum Northcote, Rashida Bhaji, and Tendai Museka Saidi. Malawi Stories of Change in Nutrition: Lessons on Advocacy. Save the Children, Civil Society Agriculture Network (CISANET), and the Institute of Development Studies, November 2022. http://dx.doi.org/10.19088/ids.2022.080.

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Malawi is one of the most committed countries in Africa to improving nutrition, yet it still has one of the highest rates of malnutrition in the region and is struggling to turn commitments into action at scale. The advocacy component of the Afikepo project strengthened capacity of national and district government and Civil Society Organisation (CSO) representatives to plan, budget and advocate for scaling up nutrition commitments at national and in 10 districts. These actions improved awareness, coordination and commitment to prioritise nutrition across sectors, within government, and CSOs and a wide range of actors at national and district level, which in turn improved governance and accountability. However, these actions did not have a substantial effect on domestic funding allocations, which are still heavily reliant on external donors. This brief summarises lessons learned and recommendations from the various advocacy and capacity building efforts over the past four years.

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Johnson, Mark, John Wachen, and Steven McGee. Entrepreneurship, Federalism, and Chicago: Setting the Computer Science Agenda at the Local and National Levels. The Learning Partnership, April 2020. http://dx.doi.org/10.51420/conf.2020.1.

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From 2012-13 to 2018-19, the number of Chicago Public Schools (CPS) high school students taking an introductory computer science course rose from three thousand per year to twelve thousand per year. Our analysis examines the policy entrepreneurship that helped drive the rapid expansion of computer science education in CPS, within the broader context of the development of computer science at the national level. We describe how actions at the national level (e.g., federal policy action and advocacy work by national organizations) created opportunities in Chicago and, likewise, how actions at the local level (e.g., district policy action and advocacy by local educators and stakeholders) influenced agenda setting at the national level. Data from interviews with prominent computer science advocates are used to document and explain the multidirectional (vertical and horizontal) flow of advocacy efforts and how these efforts influenced policy decisions in the area of computer science. These interviews with subsystem actors––which include district leaders, National Science Foundation program officers, academic researchers, and leaders from advocacy organizations––provide an insider’s perspective on the unfolding of events and highlight how advocates from various organizations worked to achieve their policy objectives.

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