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Journal articles on the topic 'Acting and actors'
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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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Howard, Skiles. "A Re-Examination of Baldwin's Theory of Acting Lines." Theatre Survey 26, no. 1 (May 1985): 1–20. http://dx.doi.org/10.1017/s0040557400000296.
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Theatre history sometimes amuses us with the persistence of certain notions which, no matter how roundly discredited, simply refuse to die. One of these speculations concerns the method of pairing role and actor in the Elizabethan theatre. Actors were assigned to their roles, and roles were written for actors, in accordance with the actor's “lines of business” — weren't they? T. W. Baldwin's long and influential book, The Organization and Personnel of the Shakespearean Company, attempts to prove this method of role designation. However, his is one of those theories of remarkable stamina which, in spite of serious critical challenge, never stay down for the count, but stagger gamely back into lectures and appear unexpectedly in respectful citations. Given its shortcomings and inaccuracies under close scrutiny, Baldwin's hypothesis seems to demand a final and permanent interment. To that end, I will examine the question of acting lines — the theory, its champions and its challengers, and the evidence for and against it, taking Baldwin's work as a starting point.
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Ioraa, Jacob Shimrumun. "Acting in Nigerian Video Films: A Critique of Lancelot Oduwa Imasuen’s Invasion 1897." QISTINA: Jurnal Multidisiplin Indonesia 1, no. 2 (December 25, 2022): 64–72. http://dx.doi.org/10.57235/qistina.v1i2.206.
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Acting plays a crucial function in the art of motion pictures. The art advance from making the audience participate in the director’s fantasy and take it as actuality. Actors are the most indelible party in a film. It is a fact that people and not technology make film as a form to express the society we live in. A unique act of art acting cannot just be faked. An actor cannot give anything out if the actor has nothing inside. In this paper, we will examine the concept of acting and the role it plays in film. We will then examine it within the context of method acting in Lancelot Oduwa Imasuen’s Invasion 1897 (2014) in order to identify and expose the slopping acting of the white cast. No doubt, the director’s casting is representational by establishing the identity of the actors of the period of the Benin Kingdom over a hundred years ago. Taking note of the above factor, this paper strives to throw the firework on the director as the master craftsman who casts his actor and is the guiding force that make all the decisions. We will then tender hints or clues towards the best bib to harness the actors of period characters by nourishing and nurturing to give a spruce acting.
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Konijn, Elly. "Actors and Emotions: A Psychological Perspective." Theatre Research International 20, no. 2 (1995): 132–40. http://dx.doi.org/10.1017/s0307883300008373.
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The acting of emotions on the stage can be looked at from three different points of view. Traditionally, the relationship of the emotions of the actor to the presupposed emotions of his character is discussed from a theatrical point of view. I shall provide a short overview of the different approaches to acting emotions based on current acting theories. Only recently have the emotions of the actor on stage portraying character-emotions been looked at scientifically from a psychological perspective. Finally, I shall present the empirical results of a questionnaire drawing on answers from a wide sample of professional actors. Due to limited space, this presentation can only be a global one. Emphasis is placed on the presentation of the empirical material about actors and emotions on stage.
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Paget, Derek. "Acting a Part: Performing Docudrama." Media International Australia 104, no. 1 (August 2002): 30–41. http://dx.doi.org/10.1177/1329878x0210400106.
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This essay considers approaches to acted performance in film and television docudrama, using as examples of recent practice a number of ‘high concept’ international coproductions such as Nuremberg and Conspiracy (both 2001). The focus of the essay is specifically upon the actor as a ‘visible marker of [documentary] inauthenticity’. It discusses the means by which an actor attempts to compensate for the manifest gap between the performed and the historical ‘real’ in preparation for docudrama performance. It also considers the nature of the transaction that takes place between actor and audience in docudrama, noting that the founding concept of this transaction is likely to be intertextual (grounded in an appreciation of the knowledge(s) brought to performance by actor and audience alike). Both parties bring to docudrama performance an awareness of the information, misinformation and disinformation that tend to cluster around significant historical events and personalities. This, it is argued, will in all probability affect both actors ‘preparation and audience reception in strikingly similar ways. The actor's trained ‘as if’ reflex is matched by a sophisticated audience's ‘what if’ reflex, in a mutual seeking of understanding beyond the rational and factual. Brian Cox's performance as Hermann Goering in Nuremberg is discussed in detail in relation to these claims. The intensification of documentary's basic absent/present paradox that takes place in docudrama is finally considered in relation to reality TV and its participants (who should be thought of, it is argued, as ‘authentic performers of self’).
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Goldstein, Thalia R., and Aline Filipe. "The Interpreted Mind: Understanding Acting." Review of General Psychology 22, no. 2 (June 2018): 220–29. http://dx.doi.org/10.1037/gpr0000116.
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Acting is everywhere: TV, movies, and theater. Yet psychologists know surprisingly little about how acting is processed and understood by viewers. This is despite popular, scholarly, and journalistic obsession both with how actors are able to create characters with fully realized personalities, emotional arcs, physical attributes, and skills, and with whether actors and their characters merge during or after performance. Theoretically, there are several possibilities for how audience members process actors and acting: as literary fiction; as if someone is telling a lie; like essentialist traits and states; or like the personalities and emotions of real people in our every day lives. The authors consider each of these possibilities in turn. They then present 3 studies investigating the amount audiences conflate actors’ and characters’ characteristics ( N = 231) by asking participants directly how much they perceive actors as experiencing the characteristics they portray (Study 1), by showing short video clips of actors and asking participants how much they thought actors were experiencing what they portrayed (Study 2) and by asking participants to judge the overlap in personality characteristics between actors and characters (Study 3). Overall, audience members are conflating actors and their characters. However, how much depends on the characteristic being portrayed and the knowledge of the audience. We propose a theoretical model of when and how audience members think of actors and their characters as blended, and we lay out a research agenda to determine how acting and actors are understood.
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Normand, Jean-Marie, Bernhard Spanlang, Franco Tecchia, Marcello Carrozzino, David Swapp, and Mel Slater. "Full Body Acting Rehearsal in a Networked Virtual Environment — A Case Study." Presence: Teleoperators and Virtual Environments 21, no. 2 (April 2012): 229–43. http://dx.doi.org/10.1162/pres_a_00089.
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In order to rehearse for a play or a scene from a movie, it is generally required that the actors are physically present at the same time in the same place. In this paper we present an example and experience of a full body motion shared virtual environment (SVE) for rehearsal. The system allows actors and directors to meet in an SVE in order to rehearse scenes for a play or a movie, that is, to perform some dialogue and blocking (positions, movements, and displacements of actors in the scene) rehearsal through a full body interactive virtual reality (VR) system. The system combines immersive VR rendering techniques as well as network capabilities together with full body tracking. Two actors and a director rehearsed from separate locations. One actor and the director were in London (located in separate rooms) while the second actor was in Barcelona. The Barcelona actor used a wide field-of-view head-tracked head-mounted display, and wore a body suit for real-time motion capture and display. The London actor was in a Cave system, with head and partial body tracking. Each actor was presented to the other as an avatar in the shared virtual environment, and the director could see the whole scenario on a desktop display, and intervene by voice commands. A video stream in a window displayed in the virtual environment also represented the director. The London participant was a professional actor, who afterward commented on the utility of the system for acting rehearsal. It was concluded that full body tracking and corresponding real-time display of all the actors' movements would be a critical requirement, and that blocking was possible down to the level of detail of gestures. Details of the implementation, actors, and director experiences are provided.
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McCaw, Dick. "Paradoxes of Acting: Bakhtin and Stanislavsky." New Theatre Quarterly 30, no. 1 (February 2014): 29–39. http://dx.doi.org/10.1017/s0266464x14000050.
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While much has been written about Bakhtin's later writings, most notably Rabelais and his World, little attention has been paid to his early manuscripts written in the mid-1920s. In this article Dick McCaw compares Bakhtin's early philosophical ideas about authorship and Stanislavsky's theory about how an actor creates a character. Bakhtin argues that actors can only be authors when they remain outside the character. He agrees that there is a need for empathy, but that this moment of co-experiencing with the character is followed by a return to oneself. Although this would seem to fly in the face of Stanislavsky's demand for the actor's empathetic identification with their role, McCaw concludes that both writers agreed that there was a necessary doubleness in the consciousness of the actor. This article develops ideas first considered in McCaw's PhD, ‘Bakhtin's Other Theatre’ (Royal Holloway, University of London, 2004) and now being reworked as a book on Bakhtin and the theatre of his time. Dick McCaw is a Senior Lecturer at Royal Holloway, and has written With an Eye for Movement (2006) and edited the Laban Sourcebook (2011).
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Boyer, Robert HW, and Lewis D. Hopkins. "Acting under the influence: Plans as improvisational gifts." Planning Theory 17, no. 1 (June 24, 2016): 31–52. http://dx.doi.org/10.1177/1473095216654729.
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Actors in complex urban environments cope with uncertainties and interdependencies by using each other’s plans, subscribing to pre-existing decision-making frameworks, and building relationships with other actors over long periods of time. Improvisational comedians employ similar strategies to create coherent and meaningful multi-actor stories without a script or director; in short, they use “gifts,” “games,” and “group mind” to cope with uncertainty on stage. We use the metaphor of improvisational theater to illustrate how many plans over many years work to shape the urban built environment. This is accomplished by reformatting over 30 years of plans created by public and private organizations in Charlotte, North Carolina, into an improvised dialog of plans. This improvised “set” reveals how plans are used as signals among diverse actors over long periods of time, offering a counter-narrative to a dominant “plans-as-consensus, then implement” narrative.
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Flaherty, Gloria. "Empathy and Distance: Romantic Theories of Acting Reconsidered." Theatre Research International 15, no. 2 (1990): 125–41. http://dx.doi.org/10.1017/s0307883300009226.
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Works dealing with the actor proliferated during the early decades of German Romanticism. Actors had come to be viewed as role models whose very costumes, hairstyles, and mannerisms often influenced prevailing fashions or, at least, gave them specific labels from particular plays. Popular interest in everything having to do with people of the theatre was seconded by contemporary poets, playwrights, painters, philosophers, professors, and physicians. While some of their writings concentrated on historical and philosophical concerns, others investigated anthropological and psychiatric as well as medical ones. And contemporary actors themselves contributed publications about the ways, means, and consequences of playing roles in public.
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Hart, James D. "Utilizing the Stanislavski System and Core Acting Skills to Teach Actors in Arts Entrepreneurship Courses." Journal of Arts Entrepreneurship Education 2, no. 1 (October 16, 2020): 3–31. http://dx.doi.org/10.46776/jaee.v2.49.
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With insight into key pedagogical approaches of theatre training, an understanding of research regarding common psychological characteristics of actors and awareness of identified parallels between arts entrepreneurship and acting course content, arts entrepreneurship instructors can, in their classrooms, increase the likelihood of relating to acting students and subsequently, leverage their students’ inherent and developed skills. Research-based psychological characteristics of actors are offered, as are suggestions to appeal to actors’ general sensibilities (and how they may wish to be engaged). The Stanislavski System is the most popular approach to actor training; its critical structural components are discussed in addition to various offshoots of the original technique. Unique features of acting training such as encouraging imagination, reflection, openness to experience, emotional connections, pursuit of goals and the importance of soft skills are emphasized.
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Friedman, Sam, and Dave O’Brien. "Resistance and Resignation: Responses to Typecasting in British Acting." Cultural Sociology 11, no. 3 (July 13, 2017): 359–76. http://dx.doi.org/10.1177/1749975517710156.
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This article draws on 38 in-depth interviews with British actors to explore the operation of typecasting. First, we argue that typecasting acts as the key mechanism through which the ‘somatic norm’ is established in British acting. It delivers an oversupply of leading roles for white, male, middle-class actors while ensuring that those who deviate somatically are restricted to largely socially caricatured roles. Second, we focus on the career trajectories of ‘othered’ actors. While they frequently experience acting roles as offensive and discriminatory, we demonstrate how most nonetheless reluctantly accept the terms of their ‘type’ in order to survive and succeed. Third, we focus on the minority who have attempted to challenge their type. Here we find that successful resistance is accomplished by carefully choosing work that subverts the somatic norm. However, the ability to exercise such choice is highly contingent on resources associated with an actor’s class origin.
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Kwon, Ji Hye, and Young Il Cho. "The Effect of Indirect Trauma Experience of Role in the Work on the Actor's Mental Health: Focus on Focus Group Interview (FGI)." Korean Association of Criminal Psychology 19, no. 1 (March 31, 2023): 7–24. http://dx.doi.org/10.25277/kcpr.2023.19.1.7.
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This study is a qualitative study to analyze the effect of indirect trauma experiences according to roles on the mental health of actors. In order to understand the aspects of indirect trauma that occur in the personalization process of the actor's creation of a role, we analyzed through in-depth interviews with five leading actors in Korea. As a result of the study, when an actor plays a role that requires high emotional commitment and extreme physical expression, such as a victim of a crime or a murderer, it is more likely to experience post-traumatic stress than when plays a general role. Psychological pain due to the re-experience of trauma or transfered trauma according to the role affects the entire acting process, and the actor's stress that causes anxiety and obsession also affected the psychological state of the actor. In addition, regarding the relationship between the trauma of the role and the pshycological state of the actor, it was found that when the trauma of the actor's role coincides or has a similarity, it has a very serious effect.
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Riis, Johannes. "Ivan Mozzhukhin’s Acting Style." Projections 12, no. 2 (December 1, 2018): 137–58. http://dx.doi.org/10.3167/proj.2018.120215.
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While the Russian film actor Ivan Mozzhukhin has been recognized by film scholars such as Jean Mitry as one of the important actors of the silent screen the nature of his contributions has gone unexplained and, ironically, Mozzhukhin is perhaps best remembered for a lost experiment, presumably carried out by Lev Kuleshov around 1920, that showed how the editor can construct character emotions with shots of contextual objects. The historical record and scientific attempts to replicate the experiment indicate that we need to pay attention to Mozzhukhin’s role as performer and my study of his performances suggests that we may have to rethink long-held assumptions about the relationship between performer expressiveness and editing.
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Ibert, Oliver, and Suntje Schmidt. "Acting on Multiple Stages." Raumforschung und Raumordnung 70, no. 4 (August 31, 2012): 349–61. http://dx.doi.org/10.1007/s13147-012-0176-9.
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Abstract This paper takes a social-constructionist approach to the terms vulnerability and resilience in order to test their analytical potential within the frame of an empirical spatial-science study. The empirical object was deliberately chosen from a field untypical for vulnerability analyses: the volatile labour markets for musical actors. The paper draws on qualitative interviews to trace the actors' construction of labour-market related uncertainties, mainly caused by labour-market dynamics as well as institutional and territorial mismatches. Barely any resilience strategies exist for these forms of vulnerability. As a result, musical actors construct multiple identities from their bodies and talents, which they use in a targeted way within different spatial and social contexts. Two forms of network governance are additionally established to attenuate some of the competitive mechanisms. From a spatial viewpoint, these practices constitute transient, multi-local activity spaces in the labour market in which action is more effective when combined with a relatively stable home base.
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Jalilova, Feruza Suratovna. "The Distinctive Features of Variety Acting." International Journal of Multicultural and Multireligious Understanding 10, no. 6 (June 26, 2023): 373. http://dx.doi.org/10.18415/ijmmu.v10i6.4917.
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This article provides information about the distinctive features of the variety acting, its differences from theater acting, issues of aesthetic taste required of the variety actors, development of the fantasy of the variety actors.
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Gulka, Heidi J., Hailey Macleod, and Rebecca Gewurtz. "Acting the part: A thematic analysis of the experiences of actors with disabilities." Canadian Journal of Disability Studies 11, no. 1 (March 27, 2022): 119–49. http://dx.doi.org/10.15353/cjds.v11i1.856.
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Portrayals of disability in film and television are often unauthentic and stereotypical, influenced by perceptions of disability in society and the lack of disability representation in the industry. Actors with disabilities encounter unique barriers in the industry that limit their acting opportunities. The purpose of this study is to explore the experiences of actors with disabilities in the Canadian film and television industry. Nine actors with physical or sensory disabilities who had experience acting in the Canadian film and television industry were recruited through social media posts. Participants completed individual semi-structured interviews discussing how their disability has affected their work as an actor. Interviews were transcribed, then coded using a thematic approach. Six participants engaged in a focus group to discuss and expand on preliminary findings. Two main themes were identified: (1) the unique experiences of actors with disabilities working in the industry; and (2) the impact of industry professionals' perceptions of disability on the experiences of actors with disabilities. Many actors experience inadequate accommodations, inaccessible work sites, stigma, and being limited to disability specific roles. As a result, actors with disabilities have implemented strategies to improve their success when faced with social and physical barriers in the industry. Authentic representation was identified as the necessary strategy to overcome barriers and create more equitable experiences for actors with disabilities. A transformation of current perceptions of disability within film and television is necessary to achieve authentic representation and create a more accurate perception of disability in society.
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Granzer, Susanne Valerie. "'The Shadow of One’s Own Head' or The Spectacle of Creativity." Performance Philosophy 3, no. 3 (December 21, 2017): 685. http://dx.doi.org/10.21476/pp.2017.33151.
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When acting, the actor/actress experiences a complex regime of signs in his/her body, mind, mood and gender. These signs are both disturbing and promising. On the one hand, the act of creativity makes a wound obvious which has been incarnated within man. It tells him/her that he/she is not the sole actor of his/her actions. On the other hand, precisely this way acting on stage becomes an event. The act of this event reveals a way of be-coming in which one acts while at the same time being passive, in which the actor/actress is both agent and patient of his/her own performance. This complex artistic experience catapults actors/actresses into an open passage, into an in-between where they are liberated from the illusion of being the sole actors of their performances. One might even say that by this turn an actor/actress experiences a change, an “anthropological mutation” (Agamben). Or, to have it differently: the artist suffers a kind of “death of the subject”.It is remarkable that this loss of the predominance of subjectivity is a crucial aspect of acting which may affect the audience in a particularly intensive way. Why? Perhaps because it updates an extremely intimate connection between audience and actors/actresses which vicariously reflects the in-between of life and death. A passage by which life presents itself as itself? Life – by its plane of immanence?
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ANDO, Hanae. "EXPERTISE OF ACTORS: THREE VIEWPOINTS IN ACTING." PSYCHOLOGIA -An International Journal of Psychology in the Orient 50, no. 1 (2007): 5–14. http://dx.doi.org/10.2117/psysoc.2007.5.
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Poopuu, Birgit. "Telling and acting identity." Discourse analysis, policy analysis, and the borders of EU identity 14, no. 1 (May 26, 2015): 134–53. http://dx.doi.org/10.1075/jlp.14.1.07poo.
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This article proposes a theoretical approach to investigate the European Union’s identity as a provider of peace operations, i.e. its Common Security and Defence Policy (CSDP) identity. Analysing the discursive construction of the EU’s CSDP identity enables to understand (i) what kind of actor the EU is in terms of conducting peace operations vis-à-vis other actors in the field; and (ii) how the EU affects and is affected by the character of the global “enterprise” of peacebuilding. The EU’s CSDP identity is seen as a process of becoming that is continuously told and acted. Taking cue from a pluralist approach to discourse analysis I explore how through the twin-processes of telling and acting identity it is possible to unravel the EU’s role identity in conducting peace operations. The purpose of this paper is to lay the theoretical groundwork for studying the EU’s CSDP identity, utilising operation Artemis as a case study.
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Lucanu, Tudor. "One Conscience or More: Is the Actor more than one at a Time?" Studia Universitatis Babeş-Bolyai Dramatica 65, no. 2 (October 30, 2020): 243–60. http://dx.doi.org/10.24193/subbdrama.2020.2.12.
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"This paper approaches an important theme in the study of actors work: the multiplication of the consciousness, from the perspective of the actor’s training correlated to psychology and neuroscience. We will refer to some of the best known works used in the training of the actor or which have as object of study the art of the actor, namely K. Stanislavsky - An Actor Prepares; Michael Chekhov - To the Actor: On the technique of acting, Lee Strasberg - Strasberg at the Actors Studio, Jerzy Grotowski - Towards a Poor Theatre, Bertolt Brecht - Brecht on Theatre, Denis Diderot - Paradox of the Actor. Conversations on The Natural Son on one hand, and Antonio Damasio’s studies on the self, on the other hand, noting that theories about the cognitive functions of the human brain provide a valuable perspective on the art of the actor, especially by how it applies to the conscious and subconscious of the actor on stage. What happens to the actor while performing? How does the actor process different stimuli to build a character, and then an entire artistic act? What are the roles of the mind and body in the creative process? These are just a few questions that I will try to find answers to, while examining the actor’s multiplication of consciousness. Keywords: consciousness, actor, character, emotions, images, brain."
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Mann, Laurin M. "Teaching Acting: Four college programs." Canadian Theatre Review 78 (March 1994): 32–37. http://dx.doi.org/10.3138/ctr.78.007.
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Do actors need training? Can acting really be taught? And, are acting schools, colleges and universities the proper venues for the training of actors? Many people see acting as so much like real life that they question why performers need to be taught the craft. Anyone who has ever “trod the boards” knows why. In real life we perform instinctively, reacting to what goes on around us. When we are on stage, we must consciously access our instinctive and intuitive reactions while moving in pre-arranged patterns and speaking someone else’s words. It takes years of training and practice to act “like life”.
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Cornici, Antonella. "THE MICHAEL CHEKHOV SYSTEM AND THE ACTOR." Review of Artistic Education 27 (April 1, 2024): 181–87. http://dx.doi.org/10.35218/rae-2024-0022.
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Russian actor, director, and educator Michael Chekhov is renowned for his significant contributions to the art of acting. The system he developed promotes a creative, expressive, and internal approach to acting, assisting actors in creating authentic and memorable characters. Photo credit: Antonella Cornici (images are from the workshop led by Natalie Yalon on the topic of the Michael Chekhov System in Nancy, France, Erasmus program, November 2022).
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Lotman, Elen. "Pedagogical Experiment with Portrait Lighting in Combination with different Actor’s intent in the case of novice Actors." International Journal of Film and Media Arts 5, no. 2 (November 13, 2020): 49–64. http://dx.doi.org/10.24140/ijfma.v5.n2.03.
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Portrait lighting and acting both carry substantial weight in creating character engagement by the viewer, but are rarely researched in conjunction. At the same time both acting and portrait lighting have considerable canons that have developed within the craft system and realized through tacit knowledge. Thus, as both are fields with considerable amount of knowledge and skills, but not enough scientific research conducted yet, it makes sense that the first expansion of knowledge should be conducted through artistic research. In line with Root-Bernstein's ArtScience approach that calls for processes of invention and exploration (Root-Bernstein, 2011), the current study tested out a possible model for researching the interaction between portrait lighting and acting. The current article should be considered as an analytic report on the first interdisciplinary experiment that melded together cinematography, acting, portrait lighting and pedagogy.
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Thompson, Ayanna. "The 2021 Josephine Waters Bennett Lecture: On Protean Acting: Race and Virtuosity." Renaissance Quarterly 75, no. 4 (2022): 1127–43. http://dx.doi.org/10.1017/rqx.2022.328.
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In November 2020, Manohla Dargis and A. O. Scott, the New York Times film critics, published an article entitled “The Century's Greatest Actors,” in which they proclaimed, “We are in a golden age of acting—make that platinum.” Celebrating the fact that their list of the top twenty-five actors from the last twenty years “looked beyond Hollywood,” Dargis and Scott declared that while there are Oscar winners on their list, “there are also character actors and chameleons.” One of the “radical shape-shifting” actors on the list is Tilda Swinton, whom Dargis characterized in the following fashion: The woman of a thousand otherworldly faces, Tilda Swinton has created enough personas—with untold wigs, costumes and accents—to have become a roster of one. She's a star, a character actor, a performance artist, an extraterrestrial, a trickster. Her pale, sharply planed face is an ideal canvas for paint and prosthetics, and capable of unnerving stillness. I am interested in the way that Swinton's “pale, sharply planed face” is praised for being so malleable: as Dargis says, “an ideal canvas for paint and prosthetics.” Swinton's paleness—her whiteness—is appended to her ability to be a “trickster,” to sustain paints and prosthetics, and to radically shape-shift. Swinton's acting craft is rendered visible to Dargis, because her “canvas” is “pale.”
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Davis, Jim. "‘They Shew Me Off in Every Form and Way’: The Iconography of English Comic Acting in the Late Eighteenth and Early Nineteenth Centuries." Theatre Research International 26, no. 3 (October 2001): 243–56. http://dx.doi.org/10.1017/s0307883301000335.
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Comic actors in the late eighteenth and early nineteenth centuries, such as John Liston and Joseph Munden, were familiar not only on stage but also iconographically. Critical writing on both performers indicates their strong visual impact. Some critics accused them of caricature, but references to Hogarth in accounts of these actors by Lamb and Hazlitt imply that they followed Hogarth's own emphasis on observation rather than caricature. Indeed, illustrations of comic actors or inspired by comic actors often hover on the borders of caricature, but ultimately avoid it. In performance the live body of the actor often counters or uses gestically the degradation implicit in caricature, although iconography sometimes fixes the actor in poses and expressions where caricature predominates.
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Rifandi, Ilham, Andar Indra Sastra, and Sahrul N. "DEKONSTRUKSI AKTING DALAM PERTUNJUKAN TEATER UNDER THE VOLCANO KARYA/SUTRADARA YUSRIL DALAM TINJAUAN ESTETIKA POSMODERN." Puitika 14, no. 2 (October 5, 2018): 99. http://dx.doi.org/10.25077/puitika.14.2.99--107.2018.
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This study aims to explore the deconstructive tendency of acting in the performances of Yusril's Under the Volcano works / director. The acting device of an actor also develops according to the situation of society and culture. Actors in postmodern culture no longer analyze the soul, or present patterns of human behavior as Stanislavsky suggested. The actor explores his mental state through the postmodern aesthetic idioms that tend to be artificial, a culture that worships form. In the Under the Volcano theater performance, the concretization process of actor work was born through Minangkabau traditional arts. The research methods used in this study are: Observation, documents, interviews and data analysis. The results of this study indicate that, in the concrete process of work in postmodern culture there are aesthetic idioms built through silek, dendang, poetry and poetry texts which are then implemented in the form of acting that emphasizes the use of gestural acting, prescribes verbality and tends to be acrobatic. Keywords: postmodern aesthetics, acting, Under the Volcano
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Mamet, David. "Celebrating the Capacity for Self-Knowledge." New Theatre Quarterly 4, no. 13 (February 1988): 89–96. http://dx.doi.org/10.1017/s0266464x00002608.
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You grew up in Chicago? Yes. And then came to New York, to study acting at the Neighborhood Playhouse, a school of theatre where I came back later to work as an actor and director, I kind of stumbled upon a career as a playwright. I became a playwright because I was an actor and I started directing because I wasn't a very good actor and I started writing because I was working with very young actors and there was nothing for them to do. I started writing because nothing existed for twelve 23-year-old actors to do.
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Jacobs, Nicolaas H., Marth Munro, and Chris Broodryk. "Embodied performance with digital visual effects technology: Empirical results of a digital acting programme." Technoetic Arts 22, no. 1 (April 1, 2024): 75–96. http://dx.doi.org/10.1386/tear_00123_1.
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The impact of digital media and technology on performance arts is evident when digital visual effects (VFX) filming techniques are introduced on a film set. Digital technologies influence the film actor’s approach to be congruent to and authentic within the circumstances of the scene. Actors require an effective skillset and strategies to successfully deliver an embodied performance aligning with the various digital VFX techniques. Focusing on imagination, action and emotion that would facilitate such an embodied performance, we drew on relevant neuroscientific notions such as neuron reactivation, conceptual blending, as-if body states and affordances. Additionally, we incorporated relevant embodied performance concepts from Stanislavski, Laban/Bartenieff Movement Studies, Effector Patterns including the Emotional Body Approach and Lessac Kinesensics to the development of a digital acting programme, advancing the actor’s required skills and providing on-set digital acting strategies to support congruency with digital VFX and authenticity within the diegetic reality. The efficacy of this programme was determined by assessing pre- and post-intervention recordings of both a control and an experimental group of trained actors. Reflection-on-action journals from participants supplemented the assessment. The assessments and journals indicate that the acquired skillset and on-set digital acting strategies effectively improve the actor’s performance with digital VFX filming technology.
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Hedeș, Bianca. "Happening, a Controversial Hybrid Way of Cultural Expression." Studia Universitatis Babeş-Bolyai Dramatica 67, no. 2 (December 13, 2022): 123–40. http://dx.doi.org/10.24193/subbdrama.2022.2.08.
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"The aim of this article is to explore an experimental acting exercise that took place in 2015 during a survival workshop guided by the Romanian-Canadian stage director Alexander Hausvater. The name of the workshop was “The total actor – The survival” and took place in Colibița, a mountain resort in Bistrița-Năsăud county involving 25 young actors. The actors embodied different human typologies for almost 12 hours in the town of Bistrița. The exercise was conducted in different areas of the town and each actor was supposed to remain in the “skin” of the character no matter the circumstances. Even though they interacted with civilians from the urban environment, they had to continue to exhibit the traits and features assigned to the character as if they were on stage. Many of the citizens were taken in by the deceitful appearances and believed that the actors they interacted with were real people with real issues. The closeness between reality and pretence was so tight that some of the spectators insisted on helping the needy, underprivileged typologies some of them were interpreting. Consequently, the difficulty in going on with the acting part became even harder for the participants in the workshops because of this interference. The main purpose of this type of exercise was to point out the complexity an actor is capable of and the involvement s/he must show in front of a changing audience, with a nonconformist moving stage. Were the actors able to prove the director’s expectations according to his given definition of a true actor? Were the actors ready enough to exploit previously unpaved roads? Was this type of practice beneficial to achieve the ultimate goal? Is happening the best way of showing the mixture of abilities an actor has? Keywords: happening, hybrid, workshop, survival, Hausvater’s artistic experiment, street performance, complexity, challenge, remain in character."
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Matei, Cosmin. "New Paradigms in the Actor’s Training – Awareness." Theatrical Colloquia 8, no. 2 (December 1, 2018): 321–44. http://dx.doi.org/10.2478/tco-2018-0024.
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Abstract The present paper describes the process of going through a pilot research phase, intuitive and scientific, from the desire to know what do we express in our corporality when we feel, empathize or play with the imaginary, especially in vocational area of actor’s training. This was done by working with the actor and Professor PhD András Hatházi, within a theatrical laboratory attended by the actor-students of the Hungarian Department, 2016-2019 promotion from the Babes-Bolyai University, Faculty of Theatre and Film, Cluj-Napoca. The objective of this research was given by the axiology emotion/feelings of emotion; heart/emotional system and brain/mind. Because the social, political, anthropological, and sentimental dimension of the human body has increased, so have the demands on the actors. As practitioners, we felt it necessary for the contemporary actor’s training to benefit from recent scientific observations about the bio-psycho-neuro-physiological processes of the living body, that is why the research has also evolved towards developing exercises to add new information to potentiate acting skills, at an imaginarycorporal level, as well as to achieve balanced parameters in terms of mental, emotional and physical health and integrity, especially post-acting.
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Rea, Ken. "Nurturing the Outstanding Actor: Lessons from Action Research in a Drama School." New Theatre Quarterly 30, no. 3 (August 2014): 231–42. http://dx.doi.org/10.1017/s0266464x14000475.
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In this article, Ken Rea examines the factors that make for success in an overcrowded acting profession. He asks what actors can do to influence their chances of having a successful career and doing outstanding work, and suggests what drama schools could do to increase the number of their students who achieve this. He examines research on peak performance in other domains, such as sport and music, then formulates a profile of the outstanding actor, based on his own empirical research and more than thirty years' teaching at the Guildhall School of Music and Drama. Drawing on interviews with world-class professionals, he proposes seven key qualities that most outstanding actors manifest, and he suggests how these can be nurtured in a training context. This article explores ideas now being reworked as a book on success in acting. Ken Rea is senior acting tutor at the Guildhall School of Music and Drama, and author of A Better Direction (1989).
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Rynell, Erik. "Skådespelarens väg till kunskap: situation och kropp." Peripeti 10, no. 19 (December 2, 2021): 10–19. http://dx.doi.org/10.7146/peri.v10i19.109032.
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The actors way to knowledge: situation and body. In the article I discuss inds within cognitive science in relation to artistic knowledge in scenic acting. I point to commonalities between the concepts of “situated” and “embodied” cognition and vital elements in the actor’s work.
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AKBAR, ABDUR RIZKY. "“Beralas Bumi Beratap Langit”: An Investigation of Creating Role and Space through Site-Specific." Mudra Jurnal Seni Budaya 37, no. 4 (October 17, 2022): 352–57. http://dx.doi.org/10.31091/mudra.v37i4.1952.
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This article is devoted to the analysis of theatre performances “Beralas Bumi Beratap Langit” which uses a site-specific method. Central to the site-specific approach is concern to the potential of unconventional spaces. The site-specific approach seeks to use the unique landscape properties of the site, locations selected based on their ability to amplify storytelling and form a clearer background for the actors in a theatrical production. This approach in theatre studies, especially with regard to actors and spaces, seems to offer breadth and bridges to the creating role and the flexibility which many representations come together, site-specific is then used as a method that helps in achieving character through learning and creating acting, from the Covid-19 pandemic intervention which changed at least most of the methods in learning acting and other creative processes. This article aims to investigate a site-specific approach that is personalized in the interest of providing insight or catalysts on the mode of acting and actors as subjects in theatrical performances. Using the ethnographic method, data were obtained on the creative process during the preparation of the show by the “Panggung Bercerita” theatre community. Practical investigation of a site-specific approach to the theatre stage method yields the following conclusions: 1) natural sets create an atmosphere of intimacy, 2) helps actors feel immersion into the world being played, and 3) provides rich and culturally relevant visualizations of the actor's image.
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Williamson, Joan. "The Cambridge encyclopedia of stage actors and acting." Reference Reviews 30, no. 8 (October 17, 2016): 31–32. http://dx.doi.org/10.1108/rr-06-2016-0160.
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Holmlund, Chris. "M.I.A.: Actors, acting and Swedish superspy Carl Hamilton." Journal of Scandinavian Cinema 9, no. 3 (September 1, 2019): 289–309. http://dx.doi.org/10.1386/jsca_00005_1.
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Carl Gustaf Gilbert Hamilton is the best-known of Swedish fictional spies – in Scandinavia at least. The brain child of novelist Jan Guillou, Hamilton is Sweden’s James Bond or Dirty Harry. Five prominent Swedish actors – Stellan Skarsgård, Peter Haber, Stefan Sauk, Peter Stormare and Mikael Persbrandt – have played the spy on-screen, yet unlike Sean Connery and Daniel Craig as Bond or Clint Eastwood as Harry, their performances have been largely unnoticed, even in Sweden. This article studies their acting with two goals in mind: (1) to show how actors have shaped Sweden’s best-known secret agent on film and for TV, and (2) to elucidate how their acting decisions respond to genre customs and constraints. In conclusion I comment on why the screen Hamiltons have not found audiences outside Scandinavia and indicate ways that transnational action genres have helped reshape Swedish culture, transforming one of its national icons, Hamilton, in the process.
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Epner, Luule. "What Do Actors Do in Contemporary Theatre." Nordic Theatre Studies 26, no. 1 (May 1, 2014): 20–30. http://dx.doi.org/10.7146/nts.v26i1.109731.
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The article addresses the issue of strategies of acting in contemporary (largely postdramatic)theatre. In thefirst part of thearticle, theacting isconceptualized asplaying, with referencetorelevant theories, particularly that of Thomas Pavel. The article puts forward the argumentthat the play world created in a theatre performance can be described by the continuousfictional ? real spectrum that accommodates a number of strategies of acting. Within thecontinuum, there exists an ongoing tension between the fictional and the real; theirrelationship is largely variable depending on the strategies of acting at work in a particularperformance. In the second part of the article, these strategies are divided into three groups:?being someone else?, ?being oneself ?and performing actions ? and are then analyzed on thebasisof examplesthat aredrawn primarily fromEstonian contemporary theatre.
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Eriksson, Björn. "Företrädare och ställföreträdare. Om sociala handlingspositioner." Sociologisk Forskning 40, no. 1 (January 1, 2003): 35–67. http://dx.doi.org/10.37062/sf.40.19394.
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Vertreter and Stellvertreter: On acting from a positionThe article is part of an attempt to build a structural theory of interaction. It tries to identify a limited set of acting positions - Vertreter, Stellvertreter and personal acting. The theoretical point concerning these acting positions is that each demand a stable set of acts, and work from different logics. This stability is unmoved by such things as changes in the identity or in the preferences of the actor. The actor must subordinate himself under the logic of the position if he is to be able to co-operate with other actors. The Stellvertreter acts in another’s name, alieno nomine agere, while the Vertreter answers for another’s acts. In many situations, an actor may act as the one or the other - the priest acts in the name of God and answers for the acts of the church, which is problematic since the two may be opposed, even antagonistic, to each other.
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Houston, Andrew, and Wendy Philpott. "Alberta Voices / 3, Acting in Edmonton: A CTR Roundtable." Canadian Theatre Review 66 (March 1991): 47–54. http://dx.doi.org/10.3138/ctr.66.010.
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What’s it like to be an actor on the Prairies? According to Marianne Copithorne, Patricia Darbasie and David Mann, it’s pretty good – in fact, it’s worth its weight in wheat. These actors speak of a theatrical nucleus which provides them the sustenance to flourish artistically. They have found a community which supports their talents while offering them a freedom not normally found in the marketplace the theatre has become in Canada.
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McConachie, Bruce. "Method Acting and the Cold War." Theatre Survey 41, no. 1 (May 2000): 47–68. http://dx.doi.org/10.1017/s0040557400004385.
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Triumphalist accounts of the spread of “the Method” in post-World War II America generally explain its success as the victory of natural truths over benighted illusions about acting. In Method Actors: Three Generations of An American Acting Style, for instance, Steve Vineberg follows his summary of the primary attributes of “method” acting with the comment: “These concerns weren't invented by Stanislavski or his American successors; they emerged naturally out of the two thousand-year history of Western acting.” Hence, the final triumph of “the Method” was natural, even inevitable. Vineberg's statement, however, raises more questions than it answers. Why did it take two thousand years for actors and theorists of acting to get it right? Or, to localize the explanation to the United States, why did more American actors, directors, and playwrights not jump on the Stanislavski bandwagon and reform the American theatre after the appearance of the Moscow Art Theatre in New York in 1923 and the subsequent lectures and classes from Boleslavski and others? The Group Theatre demonstrated the power of Stanislavski-derived acting techniques in the 1930s, but their substantial successes barely dented the conventional wisdom about acting theory and technique in the professional theatre. Yet, in the late 1940s and early fifties, “method” acting, substantially unchanged from its years in the American Laboratory and Group theatres, took Broadway and Hollywood by storm.
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Swettenham, Neal. "The Actor's Problem: Performing the Plays of Richard Foreman." New Theatre Quarterly 24, no. 1 (January 30, 2008): 65–74. http://dx.doi.org/10.1017/s0266464x08000067.
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The plays of the American avant-garde writer and director Richard Foreman present actors with a significant problem: their characters exist in a constant state of flux, detached from the usual narrative moorings, with the result that conventional acting methodologies do not apply. Drawing on interviews with Foreman himself, with the actors who worked with him on his New York production of King Cowboy Rufus Rules the Universe (2004), and on the rehearsal process of a student group preparing for the UK premiere of Pearls for Pigs (1993), Neal Swettenham investigates in this essay the precise challenges posed by these unusual texts. He argues that Foreman wants to provoke in his actors a sense of being permanently ‘off-balance’, requiring each of the performers in King Cowboy Rufus to develop their own way of navigating the play's contradictory demands. Similarly, the UK actors discovered that the unconventional dialogue, stripped of all contextual clues, must still be delivered with intention and rigour. Certain very specific European films cited by Foreman provide possible pointers to an acting style appropriate to the plays but, in the final analysis, the actor's problem remains. Neal Swettenham lectures in drama at Loughborough University. His ‘Irish Rioters, Latin American Dictators, and Desperate Optimists' Play-boy’ appeared in NTQ83 (August 2005).