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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 (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 (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 m

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5

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

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6

Slater, Niall W. "ANCIENT ACTING." Classical Review 54, no. 2 (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 (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 (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 (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

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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 (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 a

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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 a

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16

Valsiner, Jaan. "Talking and acting." Narrative Inquiry 12, no. 1 (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 (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 (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 (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 (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 inde

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23

Poopuu, Birgit. "Telling and acting identity." Discourse analysis, policy analysis, and the borders of EU identity 14, no. 1 (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 p

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24

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

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25

Il-Seong, Nha, Clive Ruggles, Alexander Gurshtein, et al. "COMMISSION 41: HISTORY OF ASTRONOMY." Proceedings of the International Astronomical Union 6, T27B (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 (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 Frenc

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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 (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 usin

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28

Pearce, Jill. "Review: Play: Ian McKellen Acting Shakespeare." Cahiers Élisabéthains: A Journal of English Renaissance Studies 31, no. 1 (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 (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 (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 (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 s

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33

Bateman, E. D., K. F. Rabe, P. M. A. Calverley, et al. "Roflumilast with long-acting 2-agonists for COPD: influence of exacerbation history." European Respiratory Journal 38, no. 3 (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 (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 (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 (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 (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 ca

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38

Simon, Zoltán Boldizsár. "(The impossibility of) acting upon a story that we can believe." Rethinking History 22, no. 1 (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 (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 demo

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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 (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 resi

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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 (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 fac

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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

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44

Jones, Nesta. "Towards a Study of the English Acting Tradition." New Theatre Quarterly 12, no. 45 (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 (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 hist

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46

Thompson, Kristin. "Lubitsch, acting and the silent romantic comedy." Film History: An International Journal 13, no. 4 (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 (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 (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 (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 s

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50

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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