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Journal articles on the topic 'Acting – History'

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Published: 4 June 2021
Last updated: 4 February 2022

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1

Tayama, Keijiro. "Short History of Double Acting Engines." Journal of The Japan Institute of Marine Engineering 49, no. 3 (2014): 387–92. http://dx.doi.org/10.5988/jime.49.387.

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2

Fedorova, Natasha. "Acting: Stanislavsky – Boleslavsky – Strasberg: History. Theory. Practice." Stanislavski Studies 5, no. 2 (July 3, 2017): 251–52. http://dx.doi.org/10.1080/20567790.2017.1377430.

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3

McFadden, Dale, and James H. McTeague. "Before Stanislavsky: American Professional Acting Schools and Acting Theory, 1875-1925." History of Education Quarterly 35, no. 3 (1995): 318. http://dx.doi.org/10.2307/369762.

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4

Bignell, Jonathan. "Performing television history." Critical Studies in Television: The International Journal of Television Studies 13, no. 3 (August 21, 2018): 262–79. http://dx.doi.org/10.1177/1749602018782860.

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An expanded conception of performance study can disturb current theoretical and historical assumptions about television’s medial identity. The article considers how to write histories of the dominant forms and assumptions about performance in British and American television drama and analyses how acting is situated in relation to the multiple meaning-making components of television. A longitudinal, wide-ranging analysis is briefly sketched to show that the concept of performance, from acting to the display of television’s mediating capability, can extend to the analysis of how the television medium ‘performed’ its own identity to shape its distinctiveness in specific historical circumstances.
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5

Kutz, Christopher. "Acting Together." Philosophy and Phenomenological Research 61, no. 1 (July 2000): 1. http://dx.doi.org/10.2307/2653401.

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6

Slater, Niall W. "ANCIENT ACTING." Classical Review 54, no. 2 (October 2004): 445–47. http://dx.doi.org/10.1093/cr/54.2.445.

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7

Risio, Alessandro, and Antonella Lang. "History and Therapeutic Rationale of Long Acting Antipsychotics." Current Clinical Pharmacology 9, no. 1 (February 2014): 39–52. http://dx.doi.org/10.2174/15748847113089990057.

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8

Kornfeld, John, and Georgia Leyden. "Acting Out: Literature, Drama, and Connecting With History." Reading Teacher 59, no. 3 (November 2005): 230–38. http://dx.doi.org/10.1598/rt.59.3.3.

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9

Dubler, Ariela R. "Wifely Behavior: A Legal History of Acting Married." Columbia Law Review 100, no. 4 (May 2000): 957. http://dx.doi.org/10.2307/1123535.

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10

Kruger, Loren. "Acting Africa." Theatre Research International 21, no. 2 (1996): 132–40. http://dx.doi.org/10.1017/s0307883300014711.

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I begin with two images of African actors. The first, from Asinamali by the South African playwright Mbongeni Ngema (1985; Plate 23), shows a group pose drawn directly from protest theatre—angry men in prison khaki, with fists clenched, bodies tensed in readiness and, one can assume, voices raised against the invisible but all too palpable forces of apartheid. The second, from the centenary celebrations of the American Board Mission in South Africa (1935; Plate 24), portrays the ‘smelling-out of a fraudulent umthakathi’ (which can be translated as diviner or trickster), which were followed, on this occasion, by other scenes portraying the civilizing influence of European settlers. While the first offers an image of African agency and modernity in the face of oppression, the second, with its apparently un-mediated reconstruction of pre-colonial ritual and, in its teleological juxtaposition of ‘tribal’ and ‘civilized’ custom, seems to respond to the quite different terms set by a long history of displays, along the lines of the Savage South Africa Show (1900), in which the authenticity of the Africans on stage was derived not from their agency but by their incorporation into the representation of colonial authority.
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11

Engerman, David C. "Thinking Locally, Acting Globally." Reviews in American History 30, no. 3 (2002): 463–70. http://dx.doi.org/10.1353/rah.2002.0053.

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12

RUNTZ, MARSHA, and JOHN BRIERE. "Adolescent “Acting-Out” and Childhood History of Sexual Abuse." Journal of Interpersonal Violence 1, no. 3 (September 1986): 326–34. http://dx.doi.org/10.1177/088626086001003005.

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13

Sternlieb, Lisa Ruth. "Molly Bloom: Acting Natural." ELH 65, no. 3 (1998): 757–78. http://dx.doi.org/10.1353/elh.1998.0029.

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14

Clarke, Desmond M. "Acting According to Conscience." Royal Institute of Philosophy Lecture Series 22 (September 1987): 135–49. http://dx.doi.org/10.1017/s1358246100003714.

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We have inherited from the history of moral philosophy two very different proposals about how we ought to behave. According to one view, we are required to do what is morally right; on the alternative formulation, we are required to do what we believe to be morally right. Unless these twin demands on our moral decision-making can be made to coincide by definition, it is inevitable that in some cases our beliefs about what is morally right may be mistaken. In such cases, it is not clear what we are morally required to do. Are we obliged to follow our conscience in every situation, i.e. to act according to our moral beliefs, or is it sometimes permissible not to act according to our own moral beliefs?
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15

Clarke, Desmond M. "Acting According to Conscience." Royal Institute of Philosophy Lecture Series 22 (September 1987): 135–49. http://dx.doi.org/10.1017/s0957042x00003710.

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We have inherited from the history of moral philosophy two very different proposals about how we ought to behave. According to one view, we are required to do what is morally right; on the alternative formulation, we are required to do what we believe to be morally right. Unless these twin demands on our moral decision-making can be made to coincide by definition, it is inevitable that in some cases our beliefs about what is morally right may be mistaken. In such cases, it is not clear what we are morally required to do. Are we obliged to follow our conscience in every situation, i.e. to act according to our moral beliefs, or is it sometimes permissible not to act according to our own moral beliefs?
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16

Valsiner, Jaan. "Talking and acting." Narrative Inquiry 12, no. 1 (September 26, 2002): 181–92. http://dx.doi.org/10.1075/ni.12.1.25val.

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17

Reddoch, M. Jason. "God’s Acting, Man’s Acting: Tradition and Philosophy in Philo of Alexandria." Journal for the Study of Judaism 42, no. 3 (2011): 380–81. http://dx.doi.org/10.1163/157006311x586313.

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18

Hunt, Stephen J. "Acting the part: ‘living history’ as a serious leisure pursuit." Leisure Studies 23, no. 4 (October 2004): 387–403. http://dx.doi.org/10.1080/0261436042000231664.

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19

Dening, Greg. "The Theatricality of History Making and the Paradoxes of Acting." Cultural Anthropology 8, no. 1 (February 1993): 73–95. http://dx.doi.org/10.1525/can.1993.8.1.02a00040.

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20

Roberts, Mary Louise. "Acting Up: The Feminist Theatrics of Marguerite Durand." French Historical Studies 19, no. 4 (1996): 1103. http://dx.doi.org/10.2307/286666.

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21

Becker, Peter, and Jeroen J. H. Dekker. "Doers: The Emergence of an Acting Elite." Paedagogica Historica 38, no. 2-3 (January 2002): 427–32. http://dx.doi.org/10.1080/0030923020380201.

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22

Risum, Janne. "The Crystal of Acting." New Theatre Quarterly 12, no. 48 (November 1996): 340–55. http://dx.doi.org/10.1017/s0266464x00010538.

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‘An actor is seen as if through crystals’, wrote Artaud in 1925, and Janne Risum here uses the analogy of the prism within which to discuss the range of inter-reflecting and interpenetrating analogies the theatre has borrowed from the other arts and from life in its attempts to define itself – analyzing also why it seems impelled to do so through the use of metaphor. Drawing upon the work of major theatre practitioners including Decroux, Stanislavsky, Craig, Meyerhold, Lecoq, Mnouchkine, and Barba, she explores terms which have sometimes been sharply redefined, sometimes allowed to remain indeterminate but allusive. She concludes that ‘in acting, many crystals are possible. There is an infinite number of ways to cut your own crystal, and some pieces of basic advice. There is only one condition: you have to cut one.’ Janne Risum teaches in the Institut for Dramaturgi at Aarhus University, Denmark, and is also an active participant in the International School for Theatre Anthropology. She has published widely in the fields of acting, theatre history, and women in theatre, and contributed ‘The Voice of Ophelia’, a study of the performance of Julia Varley in The Castle of Holstebro, to NTQ38 (May 1994).
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23

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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24

Goodin, Robert E. "Acting in Combination." Philosophy & Public Affairs 45, no. 2 (March 2017): 158–94. http://dx.doi.org/10.1111/papa.12090.

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25

Il-Seong, Nha, Clive Ruggles, Alexander Gurshtein, David DeVorkin, Teije de Jong, Rajesh Kochhar, Tsuko Nakamura, Wayne Orchiston, Antonio A. P. Videira, and Brian Warner. "COMMISSION 41: HISTORY OF ASTRONOMY." Proceedings of the International Astronomical Union 6, T27B (May 14, 2010): 263–66. http://dx.doi.org/10.1017/s1743921310005338.

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The Business Meeting of Commission 41 was held in Sessions 2 on 5 August 2009, with Acting President Clive Ruggles (UK) in the Chair. He called for a moment of silence for those members who had passed away in the last triennium, including Prof. Xi Zezong (b. 1927, d. 2008 Dec 27) and Prof. Chen Meidong (b. 1936, d. 2008 Dec 30).
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26

Fette, Julie. "Acting the Dreyfus Affair: History and Theater in the French Classroom." PMLA/Publications of the Modern Language Association of America 126, no. 3 (May 2011): 737–45. http://dx.doi.org/10.1632/pmla.2011.126.3.737.

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As a professor of French Studies, I had often wished to develop a course in which students could mount a play in French. Its pedagogical value seemed obvious: performing in a foreign language and managing a theatrical production could help students increase their knowledge of French society while improving pronunciation and vocabulary. However, my lack of expertise in the theory and practice of theater stymied me. I had also often longed to teach a course about the Dreyfus affair. The story of a French officer falsely convicted of selling military secrets to the Germans, which tore apart French society for a decade, it contains plenteous teachable issues about France: nationalism, anti-Semitism, the birth of intellectuals, treason and raison d'état, the rise of the modern press and public opinion, the separation of church and state, Third Republic politics, military justice, Franco-German rivalries, and even handwriting analysis. But I doubted that a French department would welcome a whole course just on the Dreyfus affair.
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27

Thomson, Rachel, Lucy Hadfield, Mary Jane Kehily, and Sue Sharpe. "Acting up and acting out: encountering children in a longitudinal study of mothering." Qualitative Research 12, no. 2 (April 2012): 186–201. http://dx.doi.org/10.1177/1468794111421876.

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Despite a proliferation of research exploring children’s lives and relationships over the past two decades, there is a notable absence of research which explores family relationships from the perspective of very young children (age 0–3). This article reports on data emerging from a study of new mothering with a particular focus on very young children’s active engagement with wider family narratives. The study employs a qualitative longitudinal design, and women have been followed from pregnancy into motherhood. Most recently we have attempted to document a ‘day in the life’ of the mothers using participant observation techniques. This approach has enabled us to capture the emergence of the child (around 2 years old). This article focuses on examples of interaction between researcher, mother and child relating to food, exploring how researcher subjectivity can be interrogated as a source of evidence regarding the place of the child within the research and family dynamic including examples of ‘acting up’ and ‘acting out’ on the part of all participants.
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28

Pearce, Jill. "Review: Play: Ian McKellen Acting Shakespeare." Cahiers Élisabéthains: A Journal of English Renaissance Studies 31, no. 1 (April 1987): 66–67. http://dx.doi.org/10.1177/018476788703100111.

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29

BROMHAM, DAVID R. "Long-Acting Hormonal Contraception." Annals of the New York Academy of Sciences 816, no. 1 Adolescent Gy (June 1997): 432–39. http://dx.doi.org/10.1111/j.1749-6632.1997.tb52173.x.

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30

Milazzo, Paul, and Shannon Petersen. "Acting for Endangered Species: The Statutory Ark." Environmental History 8, no. 2 (April 2003): 337. http://dx.doi.org/10.2307/3985731.

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31

Alonso, Harriet Hyman. "Jane Addams: Thinking and Acting Locally and Globally." Journal of Women's History 16, no. 1 (2004): 148–64. http://dx.doi.org/10.1353/jowh.2004.0025.

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32

Mulcahy, Sean Alexander, and Sean Mulcahy. "Acting Law | Law Acting: A Conversation with Dr Felix Nobis and Professor Gary Watt." Exchanges: The Interdisciplinary Research Journal 4, no. 2 (April 30, 2017): 189–200. http://dx.doi.org/10.31273/eirj.v4i2.158.

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Dr Felix Nobis is a senior lecturer with the Centre for Theatre and Performance at Monash University. He has worked as a professional actor for many years. He previously played an assistant to the Crown Prosecutor in the Australian television series, Janus, which was set in Melbourne, Victoria and based on the true story of a criminal family allegedly responsible for police shootings. He also played an advisor to a medical defence firm in the Australian television series MDA. He is a writer and professional storyteller. He has toured his one-person adaptation of Beowulf (2004) and one-person show Once Upon a Barstool (2006) internationally and has written on these experiences. His most recent work Boy Out of the Country (2016) is written in an Australian verse style and has just completed a tour of regional Victoria. Professor Gary Watt is an academic in the School of Law at the University of Warwick where his teaching includes advocacy and mooting. He also regularly leads rhetoric workshops at the Royal Shakespeare Company. He is the author of Dress, Law and Naked Truth (2013) and, most recently, Shakespeare’s Acts of Will: Law, Testament and Properties of Performance (2016), which explores rhetoric in law and theatre. He also co-wrote A Strange Eventful History, which he performed with Australian choral ensemble, The Song Company, to mark the 400th anniversary of Shakespeare’s death.
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33

Bateman, E. D., K. F. Rabe, P. M. A. Calverley, U. M. Goehring, M. Brose, D. Bredenbroker, and L. M. Fabbri. "Roflumilast with long-acting 2-agonists for COPD: influence of exacerbation history." European Respiratory Journal 38, no. 3 (July 7, 2011): 553–60. http://dx.doi.org/10.1183/09031936.00178710.

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34

Borgman, Christine L. "From Acting Locally to Thinking Globally: A Brief History of Library Automation." Library Quarterly 67, no. 3 (July 1997): 215–49. http://dx.doi.org/10.1086/629950.

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35

DeBono, Kenneth G., and Mark Snyder. "Acting on One's Attitudes: The Role of a History of Choosing Situations." Personality and Social Psychology Bulletin 21, no. 6 (June 1995): 629–36. http://dx.doi.org/10.1177/0146167295216009.

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36

Clark, Adam Christian. "Acting Indie: Industry, Aesthetics, and Performance." Historical Journal of Film, Radio and Television 40, no. 3 (February 26, 2020): 621–23. http://dx.doi.org/10.1080/01439685.2020.1729541.

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37

Liboiron, Max, Manuel Tironi, and Nerea Calvillo. "Toxic politics: Acting in a permanently polluted world." Social Studies of Science 48, no. 3 (June 2018): 331–49. http://dx.doi.org/10.1177/0306312718783087.

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Toxicity has become a ubiquitous, if uneven, condition. Toxicity can allow us to focus on how forms of life and their constituent relations, from the scale of cells to that of ways of life, are enabled, constrained and extinguished within broader power systems. Toxicity both disrupts existing orders and ways of life at some scales, while simultaneously enabling and maintaining ways of life at other scales. The articles in this special issue on toxic politics examine power relations and actions that have the potential for an otherwise. Yet, rather than focus on a politics that depends on the capture of social power via publics, charismatic images, shared epistemologies and controversy, we look to forms of slow, intimate activism based in ethics rather than achievement. One of the goals of this introduction and its special issue is to move concepts of toxicity away from fetishized and evidentiary regimes premised on wayward molecules behaving badly, so that toxicity can be understood in terms of reproductions of power and justice. The second goal is to move politics in a diversity of directions that can texture and expand concepts of agency and action in a permanently polluted world.
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38

Simon, Zoltán Boldizsár. "(The impossibility of) acting upon a story that we can believe." Rethinking History 22, no. 1 (January 2, 2018): 105–25. http://dx.doi.org/10.1080/13642529.2017.1419445.

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39

BERLANSTEIN, LENARD R. "CULTURAL CHANGE AND THE ACTING CONSERVATORY IN LATE NINETEENTH-CENTURY FRANCE." Historical Journal 46, no. 3 (September 2003): 583–97. http://dx.doi.org/10.1017/s0018246x03003169.

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Prominent French men of letters began to claim that the student body at the acting Conservatory, which bore a morally dubious reputation, was becoming more bourgeois than ever before as the nineteenth century ended. They interpreted the entry of the bourgeoisie as one more manifestation of national decay. In fact, the major shift in recruitment was the growing number of women from respectable, bourgeois backgrounds. The new pattern signalled an expansion in women's autonomy as individuals. Thus, the writers' pessimism obscured the fact that the early Third Republic was keeping some of its democratic promises. The findings indicate that a reassessment of France's capacity for progressive cultural change in the fin de siècle is in order.
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40

Paula Goodman. "Acting Out Biographies: Jewish Leadership at a New England Prep School." Biography 11, no. 3 (1988): 210–22. http://dx.doi.org/10.1353/bio.2010.0608.

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41

Du (杜娟), Juan. "Chinese Immigrants Acting as Local Residents." Journal of Chinese Overseas 16, no. 2 (November 11, 2020): 191–214. http://dx.doi.org/10.1163/17932548-12341423.

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Abstract Urban violence and threats to personal safety are everyday issues of shared concern for Chinese migrants in France. They push Chinese migrants to act as local residents and to interact with the host country in various and unexpected ways, whether openly or inconspicuously, in order to improve their living environment and negotiate their place in the host society. Drawing on an ethnography of Chinese immigrants living in the banlieues of Paris and their everyday social practices in relation to the issues of violence and insecurity, this article documents the strategies of everyday resistance used by Chinese immigrants, grounded in their local knowledge. In a shift toward further local participation, they perform these actions as local residents, resulting in a de facto citizenship.
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42

Goodman, Jane E. "Acting with One Voice: Producing Unanimism in Algerian Reformist Theater." Comparative Studies in Society and History 55, no. 1 (January 2013): 167–97. http://dx.doi.org/10.1017/s001041751200062x.

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AbstractScholars of democracy from Tocqueville to Habermas have long considered the proliferation of so-called voluntary associations as a sign of a flourishing civil society and as central to the rise of democratic modernity. I contend that the Algerian theatrical and musical associations of the reformist period anticipate another kind of civic history: a history of displays of unanimism in public life. I am interested in how and why Algerians learned to produce public displays of agreement for particular audiences (including themselves) at particular historical moments. I emphasize three factors that contributed to the production of unanimity: the achievement oftawḥīdor unity in the Islamic reform movement, vernacular practices of consensus-based argumentation, and French colonial legal and surveillance mechanisms. The essay engages theories of civil society, colonialism, and performance. It draws primarily on material from the French colonial archives for the city of Constantine, Algeria.
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43

Field, Stephen K. "Roflumilast, a Novel Phosphodiesterase 4 Inhibitor, for COPD Patients with a History of Exacerbations." Clinical Medicine Insights: Circulatory, Respiratory and Pulmonary Medicine 5 (January 2011): CCRPM.S7049. http://dx.doi.org/10.4137/ccrpm.s7049.

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Acute exacerbations of COPD (AECOPD) are major clinical events. They are associated with a more rapid decline in lung function, poorer quality of life scores, and an increased risk of dying. Exacerbations that require hospitalization have particular significance. Approximately 40% of the AECOPD patients who require hospitalization will die in the subsequent year. Since many AECOPD require hospitalization, they account for most of the expense of caring for COPD patients. Treatment with long-acting bronchodilators and combination inhaled corticosteroid/long-acting bronchodilator inhalers reduces but does not eliminate AECOPD. Roflumilast, a selective phosphodiesterase 4 (PDE4) inhibitor, is an anti-inflammatory medication that improves lung function in patients with COPD. In patients with more severe airway obstruction, clinical features of chronic bronchitis, and a history of AECOPD, roflumilast reduces the frequency of AECOPD when given in combination with short-acting bronchodilators, long-acting bronchodilators, or inhaled corticosteroids. It is generally well tolerated but the most common adverse effects include diarrhea, nausea, weight loss, and headaches. In clinical trials, patients treated with roflumilast experienced weight loss that averaged just over 2 kg but was primarily due to the loss of fat tissue. Weight loss was least in underweight patients and obese patients experienced the greatest weight loss. An unexpected benefit of treatment with roflumilast was that fasting blood glucose and hemoglobin A1c levels improved in patients with comorbid type 2 diabetes mellitus. Roflumilast, the first selective PDE4 inhibitor to be marketed, is a promising drug for the management of COPD patients with more severe disease.
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44

Jones, Nesta. "Towards a Study of the English Acting Tradition." New Theatre Quarterly 12, no. 45 (February 1996): 6–20. http://dx.doi.org/10.1017/s0266464x00009581.

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Here Nesta Jones outlines the history and development of the English acting tradition, and some of the issues any such consideration raises in relation to the research project introduced in the previous article by Simon Trussler. Nesta Jones is Reader in Theatre Arts at Goldsmiths, University of London, where she was for many years Head of Drama, and now directs the innovative MA programme in Theatre Arts. She is also artistic director of the NXT company, and has most recently published File on Synge (Methuen, 1994).
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45

Weimer, Steven. "Autonomy and History." Journal of Moral Philosophy 11, no. 3 (May 2, 2014): 265–93. http://dx.doi.org/10.1163/17455243-4681024.

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A common view among autonomy theorists is that a desire is autonomous only if it has the right sort of history. Usually, an autonomy-compatible history is taken to consist in the desire’s having had proper origins. In a recent article in this journal, Mikhail Valdman has proposed an alternative historical theory on which a desire’s origins are irrelevant. On Valdman’s “agent-engagement” theory, a desire is autonomous if and only if the agent has made it her own by deliberatively deciding it is worth maintaining and acting on. I argue that both of these approaches are overly demanding: the history of many autonomous desires lack proper origins, agent-engagement, or both. Taking as my starting point Alfred Mele’s account, which I go on to revise and supplement in several important ways, I outline a more flexible historical theory of autonomy which recognizes multiple ways in which a desire can become one’s own.
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46

Thompson, Kristin. "Lubitsch, acting and the silent romantic comedy." Film History: An International Journal 13, no. 4 (December 2001): 390–408. http://dx.doi.org/10.2979/fil.2001.13.4.390.

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47

Weiss, Anita. "Can Civil Society Tame Violent Extremism in Pakistan?" Current History 115, no. 780 (April 1, 2016): 144–49. http://dx.doi.org/10.1525/curh.2016.115.780.144.

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48

Pantucci, Raffaello. "China and Russia's Soft Competition in Central Asia." Current History 114, no. 774 (October 1, 2015): 272–77. http://dx.doi.org/10.1525/curh.2015.114.774.272.

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49

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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Kamiyama, Jiro, and Shigeru Saito. "History and future of beta-blockers: from adrenaline to ultra-short acting type." Nihon Shuchu Chiryo Igakukai zasshi 20, no. 2 (2013): 227–34. http://dx.doi.org/10.3918/jsicm.20.227.

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