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Journal articles on the topic 'Actors and actresses'
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1
Barba, Eugenio. "The Actor's Energy: Male/Female versus Animus/Anima." New Theatre Quarterly 3, no. 11 (August 1987): 237–40. http://dx.doi.org/10.1017/s0266464x00015220.
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INTEREST IN ACTORS who play female roles and actresses who play male roles is periodically rekindled. At such times, one might almost suspect that behind these disguises, these contrasts between reality and fiction, lie hidden one of the theatre's secret potentialities. One also often speaks of the actor's female side and the actress's male side, and attempts to develop these forthwith by means of apposite exercises.
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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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Stieger, Stefan, and Christoph Burger. "Body Height and Occupational Success for Actors and Actresses." Psychological Reports 107, no. 1 (August 2010): 25–38. http://dx.doi.org/10.2466/01.07.pr0.107.4.25-38.
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The association of body height with occupational success has been frequently studied, with previous research mainly finding a positive effect among men and positive or null effects among women. Occupational success has almost exclusively been measured so far by short-term success variables (e.g., annual income). In the present study, the relationship of success and height was examined in a group of actors and actresses using a large online database about movies (Internet Movie Database) where heights of actors and actresses are stated. The number of roles played in movies and television series during each actor's lifetime was used as a measure of long-term occupational success. No height effect was found for male actors but a significant negative effect was found for actresses, even after controlling for possible confounding influences (age and birth year). Compared to the general population, actors and actresses were significantly taller; however, actresses who were shorter than average were more likely to achieve greater occupational success, in terms of being featured in more movies.
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Marques, J. Frederico. "The Semantic Representation of Actresses and Actors." Empirical Studies of the Arts 24, no. 1 (January 2006): 81–93. http://dx.doi.org/10.2190/721b-7fak-paxy-cbuw.
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Muhammad Irkham Firdaus. "Tinjauan Hukum Islam Terhadap Jasa Endorser di Media Sosial." At-Tasyri': Jurnal Hukum dan Ekonomi Syariah 3, no. 2 (February 23, 2023): 35–46. http://dx.doi.org/10.55380/tasyri.v3i2.403.
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In the marketing strategy, Endorsement is one of the strategies of business actors to introduce goods or service products to consumers through the intermediary of actresses, youtubers, or selebrgram, especially on Instagram or youtube social media. And celebrities have accounts on social media, especially Instagram and their youtobe accounts have many followers, and make an impact on many parties seeing the uploads of these actresses, youtobers and selebgrams. In this transaction using a service rental system that is paid and has a grace period. The freedom of business actors in using endorsement services has many impacts, both positive and negative impacts. This shows that the endorsement strategy is an ijarah contract that uses a written contract in terms of freedom, the endorsement strategy has several negatve impacts. And this endorsement strategy includes 3 parties, namely business actors who use endorsement services, actresses, youtubers and celebrities who receive endorsement services, and finally consumers who buy the products after seeing products that have been introduced through endorsement services. But there are also many endorsements of goods or services that are not in accordance with the shari’a which can damage the ijarah contract, and cause the contract to be invalid or defective because it does not meet the requirements and pillars of ijarah conract. Then, discrepancies were found regarding buying and selling between business actors and consumers, resulting in fraud gue to online transaction that cannot meet face to face and it is difficult to know whether these business actors are truly trustworthy or can harm consumers. Then regarding Islamic business ethics between actresses, youtobers, and celebrities against brand account followers who become consumers for business actors on social media, several discrepancies were also found regarding the concept of Islamic business ethics and the principles of Islamic business ethics
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Davis, Tracy C. "Actresses and Prostitutes in Victorian London." Theatre Research International 13, no. 3 (1988): 221–34. http://dx.doi.org/10.1017/s0307883300005794.
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Despite the tendency for Victorian performers to be credited with increasing respectability and middle-class status and for actors to receive the highest official commendations, the popular association between actresses and prostitutes and belief in actresses' inappropriate sexual conduct endured throughout the nineteenth century. In the United States, religious fundamentalism accounts for much of the prejudice, but in Great Britain, where puritanical influences were not as influential on the theatre, other factors helped to preserve the derogatory view of actresses. In certain times and places actresses did have real links with the oldest of all ‘women's professions’, but the notion that the dual identity of Roman dancers or the exploits of some Restoration performers justify the popular association between actresses and prostitutes in the Victorian era is patently insufficient. The notion persisted throughout the nineteenth century because Victorians recognized that acting and whoring were the occupations of self-sufficient women who plied their trades in public places, and because Victorians believed that actresses' male colleagues and patrons inevitably complicated transient lifestyles, economic insecurity, and night hours with sexual activity. In the spirit of Gilbert and Gubar's axiom that experience generates metaphor and metaphor creates experience, the actress and the prostitute were both objects of desire whose company was purchased through commercial exchange. While patrons bought the right to see them, to project their fantasies on them, and to denigrate and misrepresent their sexuality, both groups of women found it necessary constantly to sue for men's attention and tolerate the false imagery. Their similarities were reinforced by coexistence in neighbourhoods and work places where they excited and placated the playgoer's lust in an eternal loop, twisted like a Mobius strip into the appearance of a single surface.
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Nguyen, Bernard. "Theatre in Québec: A Test Of Perseverance." Canadian Theatre Review 110 (March 2002): 23–25. http://dx.doi.org/10.3138/ctr.110.006.
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For the first time in Quebec, a Chinese-born actress is making her way to the major leagues. Aimee Lee played Ling, the Asian maid, in the TV series Cauchemar d’amour, which screened on TVA last fall. Appearing on the TV screen is the ultimate goal for most French Canadian actors and actresses. Lee was so impressive in her debut that a local TV critic compared her to a feminine version of Kato, the famous servant in the Pink Panther films.
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Brown, Richard, and Gretchen Davis. "Ages of Oscar-winning Best Actors and Actresses." Mathematics Teacher 83, no. 2 (February 1990): 96–102. http://dx.doi.org/10.5951/mt.83.2.0096.
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The Curriculum and Evaluation Standards for School Mathematics (National Council of Teachers of Mathematics, Commission on Standards for School Mathematics 1989) has urged a greater emphasis on statistics in the curriculum. It recommends that students generate information related to their interests and then use the information to formulate and support conjectures. This article illustrates an example of implementing these recommendations by considering the work of one student who wondered if a gender difference exists in the ages at which actors and actresses win Oscars.
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Redelmeier, Donald A., and Sheldon M. Singh. "Survival in Academy Award–Winning Actors and Actresses." Annals of Internal Medicine 134, no. 10 (May 15, 2001): 955. http://dx.doi.org/10.7326/0003-4819-134-10-200105150-00009.
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Staud, Roland. "Survival in Academy Award–Winning Actors and Actresses." Annals of Internal Medicine 138, no. 1 (January 7, 2003): 77. http://dx.doi.org/10.7326/0003-4819-138-1-200301070-00023.
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Miskie, Brooke. "Survival in Academy Award–Winning Actors and Actresses." Annals of Internal Medicine 138, no. 1 (January 7, 2003): 77. http://dx.doi.org/10.7326/0003-4819-138-1-200301070-00024.
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Redelmeier, Donald A. "Survival in Academy Award–Winning Actors and Actresses." Annals of Internal Medicine 138, no. 1 (January 7, 2003): 78. http://dx.doi.org/10.7326/0003-4819-138-1-200301070-00025.
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Amberg, Anthony. "The Gamester: A Century of Performances." Theatre Research International 15, no. 2 (1990): 105–25. http://dx.doi.org/10.1017/s0307883300009214.
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Between its first revival in 1771 and its last in 1871, The Gamester was performed more frequently on the London stage than any other Restoration or eighteenth-century tragedy. Most of these many performances, moreover, were given by Britain's finest actors and actresses. It should not be surprising, then, that the eighteenth- and nineteenth-century critics who witnessed these many fine performances thought, on the whole, highly of the acted play. Nor should it be surprising that the eighteenth- and nineteenth-century audiences – who also witnessed the performances of these many excellent actors and actresses – received The Gamester ‘with such genuine applause’.
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Endong, Floribert P. C. "Cast Me not as a Succubus or a Jezebel: Nollywood Actresses and the Struggle against Women Stereotyping." Inkanyiso 13, no. 2 (December 1, 2021): 13. http://dx.doi.org/10.4102/ink.v13i2.4.
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The stereotyping and sexual objectification of womanhood in Nollywood films have partly been attributed to Nigerian actresses. According to a number of critics and scholars, female actors’ passivity and complicity are to blame for the continuous negative portrayals of women in films. This popular belief follows from the arguable myth that female actors most often accept demeaning roles in films; meanwhile, it is axiomatic that if they reject such roles, androcentric/sexist screen writers will be compelled to develop better female characters for their films. If the above logic seems pertinent, it tends to hastily generalise on Nollywood actresses’ attitude towards the objectification of womanhood. The logic also fails to recognise the grossly understudied efforts made by many Nigerian actresses against women stereotyping in the Nigerian film industry.This paper focuses on these understudied efforts with a view of filling a knowledge gap. Specifically, the paper hinges on secondary sources and critical observations to explore some of the ways in which Nollywood actresses have struggled – and continue to struggle – against women’s stereotyping in Nollywood films. In the first place, the paper examines women stereotyping and objectification in Nollywood films; and in the second it explores three ways in which Nigerian actresses resist their stereotyping in the Nigerian film industry. These include the rejection of demeaning roles, feminine feminist cinema and the tendency to request the same demeaning roles for men.
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Loska, Elżbieta. "SYTUACJA AKTORÓW I AKTOREK W RZYMSKIM PRAWIE MAŁŻEŃSKIM." Zeszyty Prawnicze 12, no. 4 (December 15, 2016): 81. http://dx.doi.org/10.21697/zp.2012.12.4.04.
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THE SITUATION OF ACTORS AND ACTRESSES IN ROMAN MARRIAGE LAW Summary The people of the stage held a very peculiar position in Rome. This was true especially for the women of the theatre. For a long time in ancien Rome actresses fell in the category of feminae probrosae and were treated like other women subject to it. This did not change until the postclassical law when the emperors made it possible for actresses who abandoned their dishonourable profession to clear their name. This option was unavailable to other feminae probrosae. In the late 19th and 20th century the theory of the marital ineligibility of actresses and other feminae probrosae, based on the work of Savigny, was widespread in Romanistic doctrine. Some scholars even spoke of an enforced celibacy. However, it seems that this hypothesis is untenable. The status of actors and actresses in marriage law undoubtedly changed in the course of time. The regulations of the lex Iulia et Papia prohibited actresses from marrying men from the senatorial order, and perhaps all freeborn men. Under the lex Iulia et Papia this kind of union was not regarded as marriage and the couple were treated as unmarried (coelibes); consequently, they did not enjoy the privileges of the married and were subject to penalties. It seems, however, that notwithstanding such prohibitions, once concluded a marriage was treated as legal and valid iure civili. Subsequent emperors made significant changes in this regulation. From the sources preserved it is very hard to conclude how actors were treated by the law. We may safely assume that at least from the time of Augustus’ legislation onwards they could not marry women from the senatorial order. Whether this ban was abolished and if so when, remains a mystery. The Emperor Justinian is known to have permitted ex-actresses and their daughters to marry legally without the need to obtain permission from the emperor. Their position was exceptional – unlike other feminae probrosae they could have their reputation restored and marry persons of the senatorial order, first after gaining the consent of the emperor, later without it. It was a significant difference in relation to the classical law and might have resulted from the personal situation of the Emperor Justinian.
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Pearl, Sharrona. "Deglamming as Estrangement: Ugly in Monster, The Hours, and Cake." CINEJ Cinema Journal 8, no. 1 (March 11, 2020): 218–48. http://dx.doi.org/10.5195/cinej.2020.268.
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In this paper, I explore female actresses undergoing radical or seemingly radical physical transformation in service of a broader kind of career transformation. I problematize the simple calculation of deglamming, thinking more closely about the ways that celebrity structure raises challenges to actors and especially actresses attempting to engage with against-type characters. I turn specifically to three well-known examples of this trend: Charlize Theron in Monster (2003), Nicole Kidman in The Hours (2002), and Jennifer Aniston in Cake (2014). I argue that the process we see is not about deglamming (or getting ugly) for its own sake. Deglamming in these cases is a process of estrangement: from beauty, from the celebrity machine, from audience expectations. I draw on screen shots, film reviews and interviews to explore the relationship between deglamming and estrangement as a kind of acting and character technique, paying particular attention to the stakes for presenting historical characters in biopics. And while the three films I examine here – Monster, The Hours, and Cake – are often thought together as examples of actress Oscar uglification, they are actually quite different, both in terms of the physical transformations the actresses underwent in service of their characters, and the ways in which these transformations were understood and received.
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Watermeier, Daniel J., and Donald Mullin. "Victorian Actors and Actresses in Review: A Dictionary of Contemporary Views of Representative British and American Actors and Actresses, 1837-1901." Theatre Journal 37, no. 1 (March 1985): 118. http://dx.doi.org/10.2307/3207196.
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Gadhavi, Ashariya Mohan. "From Nominations to Triumphs: Interrogating African Americans in Leading Roles at the Oscars." RESEARCH REVIEW International Journal of Multidisciplinary 9, no. 2 (February 15, 2024): 248–55. http://dx.doi.org/10.31305/rrijm.2024.v09.n02.027.
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This paper delves into the intricate intersection of race and Hollywood recognition, employing the prestigious Academy Awards as a lens to scrutinize the portrayal of African Americans in leading roles. Focusing on both Oscar-winning performances and the instances where African American actors and actresses were nominated but did not secure the coveted award, the study aims to unravel the complexities surrounding race in the film industry. By utilizing the Oscars as a sampling organizer, the research seeks to trace the factors contributing to the acknowledgment of African American talent within the cinematic landscape. Through an in-depth examination of roles that have earned Best Actress in a Leading Role and Best Actor in a Leading Role Oscars for African Americans, the paper engages with the broader discourse on racial theory and film study, shedding light on the evolving dynamics of representation and recognition in the entertainment realm.
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Kelly, Katherine E. "The Actresses' Franchise League Prepares For War: Feminist Theatre in Camouflage." Theatre Survey 35, no. 1 (May 1994): 121–37. http://dx.doi.org/10.1017/s004055740000260x.
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In the third week of December 1908, a group of 300–400 prominent actors, actresses, and dramatists gathered at the Criterion Theatre in London to celebrate the formation of the Actresses' Franchise League. The inaugurating resolution, passed with one dissent, read: “That this meeting of actresses calls upon the Government immediately to extend the franchise to women, that women claim the franchise as a necessary protection for the workers under modern industrial conditions, and maintain that by their labour they have earned the right to this defence” (Votes for Women 24 Dec. 1908, p. 211). The resolution's emphasis upon labour as the enabling criterion qualifying women for the franchise reflects the roots of the British suffrage movement in the working class industrial north, where, as David Rosen notes, the Independent Labour Party had supported early suffragists (57).
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Redelmeier, Donald A., and Sheldon M. Singh. "Long-term mortality of academy award winning actors and actresses." PLOS ONE 17, no. 4 (April 13, 2022): e0266563. http://dx.doi.org/10.1371/journal.pone.0266563.
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Background Social status gradients are powerful health determinants for individuals living in poverty. We tested whether winning an Academy award (Oscar) for acting was associated with long-term survival. Methods We conducted a longitudinal cohort analysis of all actors and actresses nominated for an Academy award in a leading or a supporting role. For each, a control was identified based on age, sex, and co-staring in the same film. Results Overall, 2,111 individuals were analyzed with 1,122 total deaths occurring during a median follow-up of 68.8 years. Comparisons of winners to controls yielded a 4.8% relative difference average life-span (95% confidence interval: 1.6 to 7.9, p = 0.004), a 5.1 year absolute increase in life expectancy (95% confidence interval: 3.0 to 7.2, p < 0.001), and a 41% improvement in mortality hazard (95% confidence interval: 19 to 68, p < 0.001). The increased survival tended to be greater in recent years, for individuals winning at a younger age, and among those with multiple wins. The increased survival replicated in secondary analyses comparing winners to nominees and was not observed in analyses comparing nominees to controls. Conclusions Academy award winning actors and actresses show a positive association between success and survival, suggesting the importance of behavioral, psychological, or other modifiable health factors unrelated to poverty.
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Ramadhani, Sri Rahayu, and Titus Soepono Adji. "TOKOH PENDUKUNG SEBAGAI TANDA PENGUAT PESAN PADA FILM TALAK 3." Texture:Art and Culture Journal 1, no. 1 (December 13, 2018): 69–83. http://dx.doi.org/10.33153/texture.v1i1.2235.
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Supporting actors and supporting actresses in films have an important influence on the course of the story. Their presence is able to strengthen the messages conveyed through scenes in the film. The formulation of the problem of this research is how to read the supporting cast as a message reinforcement on the film Talak 3. Film Talak 3 by Hanung Bramantyo and Ismail Basbeth tells the story of the desire of a divorced couple to reconcile. The supporting figures in the film Talak 3 were used as the focus of the study. The study was conducted using a type of qualitative descriptive research, while the approach method applied the semiotic theory of Roland Barthes to analyze the supporting characters who had the role of signaling the message in the scene. The results of this study show that the budhe Ratna as a supporting actress strengthens the message using marriage life and the meaning of true love that appears throughout the film. Messages related to bureaucracy in government agencies are strengthened by the presence of figures Basuki, Hasmi, Jonur and Ical.Keywords: message, supporting actor and actress, Roland Barthes’s semiotics, Film Talak 3
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Bai, Kaining. "The Impact of Sexual Minorities' Coming Out Actions on Their Careers in the United States: Take the Film Industry as an Example." Communications in Humanities Research 4, no. 1 (May 17, 2023): 329–35. http://dx.doi.org/10.54254/2753-7064/4/20220538.
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Although much has been done to protect LGBT people, coming out still seems to be a red line that cannot be crossed in the US film industry. Actors or Actresses who come out of the closet will still always lose job opportunities, just because of their sexual orientations. Or they will only act on some LGBT characters. Therefore, this article uses the case analysis method, to find out the impact coming out actions have on people's careers in the film industry in the United States, to explore why so many actors or actresses still choose to stay in the closet, and to give some suggestions. Finally, this article finds out that it is losing quality acting resources, disruption to private lives, conflict in works, and excessive public opinion pressure which stop them from coming out. Based on the findings, this paper also provides some suggestions which can be used to eliminate occupational discrimination against sexual orientations in the American film industry at family, school, and society levels.
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Sondergard, Sid. "Samuel Foote and the Comedic Regeneration of Thomas Weston." Theatre Survey 30, no. 1-2 (May 1989): 69–83. http://dx.doi.org/10.1017/s0040557400000788.
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Samuel Foote, the prototypical self-made man, assisted the careers of Edward Shuter, Tate Wilkinson, Henry Woodward, and Thomas Weston, some of the finest comic actors of the mid-eighteenth century, by supporting them with positions in his Haymarket troupe. Nevertheless, Foote was plagued throughout his own career by conflicts with actors and actresses, theatre managers and owners. Shuter frequently acted at rival houses, while Wilkinson and Woodward were as often offended as encouraged by Foote. Weston, however, received special treatment from the Haymarket master and reciprocated in what became a most unusual symbiotic exchange: Foote taught Weston that his theatrical survival depended on exploiting his natural proclivity for low comedy, and Weston's subsequent success helped to finance Foote's dramatic experiments, aiding his creative development both as a comic actor and playwright.
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Halder, Debarati, and Karuppannan Jaishankar. "Celebrities and cyber crimes: An analysis of the victimization of female film stars on the internet." Temida 19, no. 3-4 (2016): 355–72. http://dx.doi.org/10.2298/tem1604355h.
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With the advent of internet and digital communication technology, online crimes targeting celebrities have gained a momentum. This article argues that, among the celebrities, actresses of Hollywood and Bollywood are particularly targeted online mainly because of their sex appeal and easy availability of contents including their images, video clippings, their private geo-location information, etc. The perpetrators are mostly fans who may wish to view the actresses as sex symbols. This article suggests that production houses should take primary responsibilities to prevent such victimisation and the actors themselves may avail legal policies such as right to be forgotten to approach the internet companies including search engines like Google to prevent victimisation and remove the offensive contents.
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Lee, Youngeun, and Mantae Kim. "Characteristics of Theater Artists’ Saju from the Perspective of Myeongli Science: Focusing on Theater Actors and Actresses." Korean Society of Culture and Convergence 44, no. 6 (June 30, 2022): 481–506. http://dx.doi.org/10.33645/cnc.2022.6.44.6.481.
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In the modern times when people have stronger intention of expressing themselves, more people are trying to enter the cultural and artistic fields because the cultural and artistic field get more spotlight. Accordingly, in compliance with the mood of modern times and social demands, it is necessary to conduct the research on Myeongli Science and help people to get the guidance in their future life. In this research on theater artists’ Saju from the perspective of Myeongli Science, the analysis was conducted to ten theater actors and actresses in their 30s and 40s who have get involved in the field. All of them majored in the theater acting in universities and graduate schools and have been working till now in the related theater fields. In addition, though they sometimes appeared in the movies or TV dramas, the subject theater artists for this research were restricted to the actors and actresses who mainly work on actual stages and whose main income source is the theater activities. As the research method, the main elements of Myeongli Science such as Five-Elements( ), Sipseong ( ), Sipiunseong( ), Shinsal( ) and Daeun( ) were used to find out the characteristics expressed in their Saju in many ways. In addition, the acting style, related degree and field experiences of each of them were also analyzed. The research showed that the predominant Ilgan( ) for theater actors and actresses were Geum( ) and Su( ). On top of that, the research showed the strong Pyeonseong( ) in Ilji( ) and showed the development in Geopjae( ) and Sanggwan( ) in the Sipseong( ). In addition, it showed that at the time when they decided on their future career and started the activities, they got more affected by Siksangun, Gwanseongun and Jaeseongun. It is expected that there would be more active researches on the characteristics of artists in many artistic fields from the perspective of Myeongli Science.
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Sogon, Shunya, and Makoto Masutani. "Identification of Emotion from Body Movements: A Cross-Cultural Study of Americans and Japanese." Psychological Reports 65, no. 1 (August 1989): 35–46. http://dx.doi.org/10.2466/pr0.1989.65.1.35.
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In the present study American and Japanese subjects' judgments of emotional cues in body movements were compared, when facial information was excluded. Seven fundamental emotions of joy, surprise, fear, sadness, disgust, anger, contempt and three affective-cognitive structures for the emotions of affection, anticipation, and acceptance were displayed by four Japanese actors/actresses with their backs turned toward the viewer. The emotions of sadness, fear, and anger as expressed in kinetic movement showed high agreement between the two cultural groups. Joy and surprise, even though they are classified as fundamental emotions, contained some cultural components that affected the judgments. Furthermore, USA subjects successfully identified disgust as portrayed by Japanese actors/actresses, but Japanese subjects did not identify the expressions of disgust or contempt. Affection, anticipation, and acceptance have some cultural components that are interpreted differently by Japanese and Americans, and this accounted for some of the misunderstandings. Nevertheless, most of the scenes depicting emotions and affective-cognitive structures emotions were correctly identified by the subjects of each culture.
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Rosyidah, Elok Nuriyatur, and Akhmad Rifai. "Semiotic Analysis of Feminism in Joko Anwar’s Movie “Perempuan Tanah Jahanam”." KOMUNIKA: Jurnal Dakwah dan Komunikasi 16, no. 1 (April 30, 2022): 51–64. http://dx.doi.org/10.24090/komunika.v16i1.6001.
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Movies be a part of entertainment media that represent the state of the community and record the dynamism of nowadays's social society, ranging from inequality of poverty to gender injustice. The Perempuan Tanah Jahanam movie is a gore horror genre featuring female actors. Its story focuses on four women as a lead female actresses. Joko Anwar as director, presents and describes female actors not solely as supernumerary and accessories in movies. The purpose of this study is to explore the value of feminism in the Perempuan Tanah Jahanam movie through signs and markers using Roland Barthes' semiotic analysis method, which also employs the radical and postmodern feminism concept inspired by Rosemarie Putman tong. Based on this study's analysis, it is concluded that women are capable and control themselves over their bodies. Women refuse to follow the public perspective that women are powerless and must always propose to male protectors. Women are independent and dare to refuse sexual abuse. The film reflects feminism in how female actresses play roles in Perempuan Tanah Jahanam's movie.
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Tinedo Rodríguez, Antonio Jesús. "Actors’ and Actresses’ Perceptions on the Applications of Discourse Analysis from a Qualitative and Quantitative Outlook to Musical Theatre." Epos : Revista de filología, no. 37 (December 21, 2021): 211–23. http://dx.doi.org/10.5944/epos.37.2021.30948.
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Homo loquens has the ability of language. Language is present in all the aspects of life, including performing arts. The main goal of this proposal is to assess the perception of actors and actresses on a resource which has been developed to help them make the most of the text; the fundaments of this resource are in the linguistic theory. The main goal of this acting resource which combines a quantitative and a qualitative approach to the text is to foster critical thinking. The goal is thus to approach the dramatic text from different perspectives to provoke deep reflections on the text through discourse analysis. Subsidiarily, an interview to a professional actress has been carried out to know her thoughts on the resource and her perception was positive. As a conclusion, it might be interesting to explore the relationships between drama and linguistics.
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Gadihoke, Sabeena. "Capturing Stars: Bengali Actresses Through the Camera of Nemai Ghosh." BioScope: South Asian Screen Studies 8, no. 1 (June 2017): 30–45. http://dx.doi.org/10.1177/0974927617701568.
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This essay explores the rich archive of photographer Nemai Ghosh whose production stills on the sets of Satyajit Ray kept his cinema alive in popular memory. While it might appear that Ghosh was overwhelmed by the vision of Satyajit Ray, the essay explores how the documentary impulse in his work created continuity as well as rupture with the cinema of Ray and others in Bengal. Nemai Ghosh’s forte lay in capturing candid moments of actors just before and after filming on the sets. These interstitial moments caught between the vision of the director and the photographer shooting a production still could be used to tease out other deeper meanings about star personas. As we look through Nemai Ghosh’s larger body of work, particularly at images which may not have found public circulation as film stills, we see other kinds of mediations between the photographer, the camera and his subjects. By extricating still frames out of motion, Ghosh’s photographs invite us to contemplate certain tensions between female actors, their roles and their extra cinematic lives. Recollections of these stars are layered by stories, anecdotes and popular myths. In this essay, I explore what it might mean to look back at Nemai Ghosh’s images through the prism of these overlapping memories.
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Brooks, William, and P. J. Yarrow. "Neglected Evidence About the Actor Michel Baron (1653–1729)." Theatre Research International 18, no. 3 (1993): 173–76. http://dx.doi.org/10.1017/s0307883300017880.
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When Louis XIV died, in 1715, the Comédie-Française was a weakened institution. It had barely survived the lean years at the end of the reign, and although it was sufficiently endowed with good actresses, it could boast no charismatic leading male actor who by his very presence might restore its fortunes in the new confident era that was beginning. Indeed, the adverse competitive environment created by the bawdy and vivacious theatres of the fairs on the one hand, and by the ever-popular Académie Royale (or Opera) on the other, was soon exacerbated by the return to Paris of the Italian actors, recalled in 1716 after an absence of nineteen years. It was in this context that in 1720, after an absence of nearly three decades, there returned to the Paris stage one of the most admired actors of the previous century, Michel Baron.
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Kerlan-Stephens, Anne. "The Making of Modern Icons: Three Actresses of the Lianhua Film Company." European Journal of East Asian Studies 6, no. 1 (2007): 43–73. http://dx.doi.org/10.1163/157006107x197664.
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AbstractBetween 1930 and 1937, the Lianhua Film Company was one of the major studios in China, and in many ways was a symbol of modernity. The policy of the Company towards its actors was quite new and contributed to the creation of a new social status for this group, especially for the women. This paper focuses on three female stars (Wang Renmei, Chen Yanyan and Li Lili,) who worked for the Lianhua Film Company. Through a detailed analysis of the photos published in its magazine, Lianhua Huabao, as well as feature films produced by the Company, we will study Lianhua's strategies to transform these women into professional actresses. Their image was created by the entanglement of three spheres: their private lives, their public lives and their fiction lives played on screen. We will consider the sometimes conflicting relationships between these spheres by looking at the visual sources (photos and feature films) in conjunction with the actresses' biographies and movie roles. This will underline the complexity and ambiguity of a process understood by the Lianhua Film Company not only as the making of professional actresses but also as the creation of a new, modern Chinese woman.
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Morimoto, Mariko. "Congruence and celebrity endorser credibility in Japanese OTC drug advertising." International Journal of Pharmaceutical and Healthcare Marketing 12, no. 3 (September 3, 2018): 234–50. http://dx.doi.org/10.1108/ijphm-09-2017-0049.
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Purpose Based on congruency theory, this study aims to examine the effects of celebrity endorsement on endorser credibility in Japanese over-the-counter (OTC) drug advertising using multiple celebrity categories. In particular, this research explored brand–endorser congruence and endorser–consumer congruence and their roles in attitude formation. Design/methodology/approach A 3 (endorser categories: actor/actress, athlete and talent/TV personality) × 2 (endorser’s gender) factorial experimental design with 480 Japanese consumers was used in the study. Findings In Japanese OTC drug advertising, actors/actresses and athletes were regarded as more credible than talents (TV personalities) by Japanese consumers. Endorser categories also had a significant influence on identification with the endorser through ideal self-congruency. Additionally, endorser credibility mediated the relationship between identification and advertising evaluations. However, it did not mediate the relationship between perceived similarity with the endorser and advertising responses. Originality/value Little is known about the effectiveness of celebrity endorsers in OTC drug advertising from a source credibility perspective. This study attempted to shed light on the role of endorser fit in the framework of source credibility in drug advertising that usually places an emphasis on informational cues rather than peripheral cues such as source effects.
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Ziegler, Georgianna. "The Actress as Shakespearian Critic: Three Nineteenth-Century Portias." Theatre Survey 30, no. 1-2 (May 1989): 93–109. http://dx.doi.org/10.1017/s0040557400000806.
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The nineteenth-century theatre saw the rise of the outspoken, intelligent leading lady. In a period in which actors were just shedding their status as second-class citizens, and women still were second-class citizens in society as a whole, three actresses established themselves as major interpreters of Shakespeare. Fanny Kemble, Helena Faucit Martin, and Ellen Terry had the double advantage of rising to the top of their profession and of being highly articulate writers as well, leaving records of their thoughts about acting and about the playwright who inspired them. This reading of their letters, memoirs, and criticism suggests answers to several questions: What do the actresses notice about Shakespeare's plays? How do their views relate to those of the literary critics of the time? And finally, do they ever consult formal scholarship when preparing for a role?
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Barta, Jim, and Linda L'Ai. "Galleons, Magic Potions, and Quidditch: The Mathematics of Harry Potter." Teaching Children Mathematics 11, no. 4 (November 2004): 210–16. http://dx.doi.org/10.5951/tcm.11.4.0210.
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“All aboard the Hogwarts Express!” shout the students busily immersed in their studies. No, this is not a casting call for young actors and actresses living out their fantasies of starring in a new Harry Potter movie. Rather, the children are studying mathematics at the Edith Bowen Laboratory School in Logan, Utah. These fourth-grade students are developing mathematical activities around the topic of the child magician Harry Potter.
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Korbel, Susanne. "Jews, Mobility, and Sex: Popular Entertainment between Budapest, Vienna, and New York around 1900." Austrian History Yearbook 51 (April 6, 2020): 220–42. http://dx.doi.org/10.1017/s0067237820000168.
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AbstractThis article investigates the coinciding of the mass migration from Europe to the Americas and the emergence of mass culture, two developments that shaped everyday life, popular entertainment, and Jewish and non-Jewish relations at the turn of the twentieth century. Jewish actors and actresses were among the most prominent performers who staged in Orpheums, Varietés, and vaudevilles on both sides of the Atlantic. In their performances they drew on the notion of a new quality of mobility that society was experiencing, utilizing it to negotiate issues such as of the cultural construction of identities and Jewishness, or to critically reexamine antisemitic and nationalistic attitudes. On the one hand, mobility enabled negotiations of controversial issues. On the other hand, mobility led to accusations against popular entertainment, both legitimate and erroneous—for example, that vaudevilles functioned as covers for clandestine prostitution. Therefore, the article examines the question of how mobility influenced popular culture. What were the controversial issues that mobility raised, and what accusations did these evoke? In what ways did actors and actresses in popular culture address gender and Jewishness? To answer these questions, the article analyzes the spaces of popular entertainment in Budapest, Vienna, and New York through close examinations of newspapers, manuscripts, playbills, and records of censorship.
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Kim, Bongseog, Jiung Park, Jun-Won Hwang, Hee-Jeong Yoo, Young-Sook Kwack, and Geon Ho Bahn. "How Does the Movie Affect Child Actors (Actresses) on Piaget's Cognitive Developmental Theory?" Journal of korean Academy of Child and Adolescent Psychiatry 24, no. 2 (June 30, 2013): 65–70. http://dx.doi.org/10.5765/jkacap.2013.24.2.65.
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Fejes, Katalin. "Film, Fashion, and the Modern Woman: Western Cultural Influences in Hungary in the 1930s." Stan Rzeczy, no. 2(21) (November 1, 2021): 273–96. http://dx.doi.org/10.51196/srz.21.10.
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This paper takes a novel approach to exploring the relationship between fashion salons and sound films in making the image of the modern woman in the 1930s. In this period, liberal cultural tendencies contradicted the increasingly authoritarian political trends in Central Europe. In Hungary, sound films transformed the fashion industry, and fashion salons were quick to respond by creating new clothing for the modern women. This paper investigates the figure of the modern woman as it appeared in newspapers, fashion magazines, and sound films. The type of independent, purposeful woman shown in the films, with her confidence, fashionable costumes, and romance, became an ideal for young women. As dressmakers for film actresses, fashion salons played a significant role in conveying the Western style of dress. They influenced the collective representation of a generation through the representation of film actresses. However, the popularity of the “modern woman” turned out to be temporary in society, which was increasingly subjected to authoritarian policies in the shadow of European fascism. After 1938, the film industry was transformed; film directors and actors or actresses of Jewish origin were forbidden to continue their profession. Curiously, the discriminatory legislation did not touch the fashion salons, which continued to exist and started to produce traditional clothes. This paper puts these contradicting processes in context.
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Gossip, Christopher. "Performance and Literature in the Commedia dell'Arte. By Robert Henke. Cambridge: Cambridge University Press, 2003; pp. xiv + 263. $70 cloth." Theatre Survey 45, no. 2 (November 2004): 317–19. http://dx.doi.org/10.1017/s004055740440026x.
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The title of Robert Henke's latest book accurately reflects its innovative contents. The close study of manuscript and printed texts of various kinds—contracts, letters, poems, memorializations, scenarios, treatises, and diaries—sits alongside examination of actors, actresses, the character system, and individual roles to provide the first study devoted to the interaction, indeed cross-fertilization, between the oral and the literary aspects of commedia dell'arte, contrasting yet complementing each other as did binary pairs of arte figures.
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Granda Viñuelas, Édel. "Transitar las fronteras del sistema sexo-género. Una aproximación socioantropológica a las trayectorias trans." Clepsydra. Revista de Estudios de Género y Teoría Feminista, no. 26 (2024): 117–32. http://dx.doi.org/10.25145/j.clepsydra.2024.26.07.
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This essay proposes a socio-anthropological approach to the trajectories of individuals who question their assigned sex at birth or undergo some form of gender transition. By restoring the voices of trans actors and actresses in specific contexts, it analyzes how gender transitions are not carried out individually but are intertwined with particular social relationships and worlds. The pursuit of identity reconstruction is a part of trans trajectories that interact with a broader system: the sex-gender system.
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Bloch, René. "Part of the Scene." Journal of Ancient Judaism 8, no. 2 (May 19, 2017): 150–69. http://dx.doi.org/10.30965/21967954-00802003.
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This article points to the complexities of Jewish engagement with theater; thus, despite frequent condemnation of the theater by rabbis we find also more nuanced voices. The article reviews the evidence for Jewish theater attendance in ancient Palestine and the Diaspora, outlines the views on theater in the works of Philo of Alexandria and Flavius Josephus, discusses evidence for Jewish actors and actresses, and takes a look at Ezekiel’s Exagoge, the clearest case of a Jewish drama handed down from antiquity.
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Horovitz, Roy. "Lea Koenig and Miriam Zohar: Theater Actresses as Memory Agents." IYUNIM Multidisciplinary Studies in Israeli and Modern Jewish Society 37 (July 15, 2022): 147–69. http://dx.doi.org/10.51854/bguy-37a136.
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The art of theater takes place, as a rule, in the ‘here and now’ of the present, yet all participants in a theatrical production (first and foremost the actors) contribute their personal and professional ‘past’ to this ‘present.’ Both ‘first ladies’ of Israeli theater, Lea Koenig and Miriam Zohar, are Holocaust survivors and ninety years old. Throughout rich careers which span over seven decades, Lea Koenig and Miriam Zohar have been cast in ‘Holocaust Plays.’ This essay examines the way they incorporated personal biography in their theatrical performances and their interpretations of dramatic texts. An examination of the different projects in which they were involved reveals that each of them made use of a different strategy to address the memory of the Holocaust in Israel. Their personal cases can both teach us about the role of the artist as an agent of memory within the society in which he or she lives and performs and exemplify more general patterns in Israel’s memory of the Holocaust.
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Master, Suely, Marco Guzman, Maria Josefina Azócar, Daniel Muñoz, and Cori Bortnem. "How Do Laryngeal and Respiratory Functions Contribute to Differentiate Actors/Actresses and Untrained Voices?" Journal of Voice 29, no. 3 (May 2015): 333–45. http://dx.doi.org/10.1016/j.jvoice.2014.09.003.
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Yeroshenko, O. V. "Specifics of Vocal Repertoire of Students-Actresses (on the Example of Ukrainian Folk Songs Arrangements): Musical and Performing Aspect." Culture of Ukraine, no. 71 (April 2, 2021): 68–74. http://dx.doi.org/10.31516/2410-5325.071.08.
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The purpose of this article is to determine the main musical performance features of the vocal repertoire of students-actresses (using the example of selected arrangements of Ukrainian folk songs for a female voice accompanied by a piano) and highlight their role in the selection of vocal works in the field of stage arts. Research methodology. General scientific methods are used in this article: cognitive, analytical, comparative; particular musical-theoretical methods: musicalanalytical method, vocalperforming analysis. Results. Some of the most significant musical and artistic features of the arrangement of Ukrainian folk songs, which serve their widespread use in the repertoire of future specialists of the dramatic scene, in particular, are: the variety of their genre and thematic composition, the lightness of the verbal text, the simple form of musical verse, which together create suitable conditions for solving musical, vocaltechnical and artistic-performing tasks of the work. Widely used in the vocal repertoire of students-actresses (on the example of KhSAC) are the Ukrainian composers’ arrangement of folk songs of a narrow range (from a minor sixth to a perfect octave), where performers are not given complex vocal and technical tasks, however, they require future actresses to master such important factors of singing phonation as singing breathing, various types of sound science (legato, staccato), expressive articulation, as well as a vivid acting embodiment of the vocal and artistic image of the work. Novelty. For the first time, the article considers the specificity of the singing repertoire of future actresses (using the example of selected arrangements of Ukrainian folk songs for a female voice accompanied by a piano) in the musicalperforming plane and identifies the main parameters of introducing this musical material into the vocal repertoire of future stage art specialists. The practical significance. The article contains information that is useful for professional representatives of drama arts sphere, vocal pedagogy and students-actors in the aspect of vocal and performing skills development. Сonclusions. The main musical performance characteristics of the vocal repertoire of future actresses (using the example of selected arrangements of Ukrainian folk songs for female voice accompanied by a piano) are defined as follows: a narrow vocal range of the song, which is important for the vocal performance of actresses, whose singing range is generally not complete (most often reaches up to one and a half octaves); consistency of the musical material with a change in the mode and tone altitude (fretonal pitch), which allows to freely select the desired tonality that is most convenient for the performer; expressive artistic and emotional content of the work, which together play a leading role in the selection of the singing repertoire of future specialists in the dramatic sphere.
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Brooks, Helen E. M. "‘One Entire Nation of Actors and Actresses’: Reconsidering the Relationship of Public and Private Theatricals." Nineteenth Century Theatre and Film 38, no. 2 (November 2011): 1–13. http://dx.doi.org/10.7227/nctf.38.2.3.
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Kunz, George. "Review of Theater as life: Practical wisdom drawn from great acting teachers, actors and actresses." Humanistic Psychologist 40, no. 4 (2012): 391–92. http://dx.doi.org/10.1080/08873267.2012.671105.
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Karakioulafi, Christina. "COVID-19 pandemic as a catalyst of art workers mobilisation and unionisation: the case of Greek actors." Revista Española de Sociología 31, no. 4 (September 30, 2022): a129. http://dx.doi.org/10.22325/fes/res.2022.129.
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In Greece, as in other countries, the cultural sector is among the most affected by the coronavirus crisis, bringing to the surface structural problems that these sectors have been facing. As the first Greek state’s first support measures were ill-adapted to cultural sectors’ forms of employment, artists’ unions mobilised and new solidarity groups and campaigns such as Support Art Workers (SAW) emerged. Based on findings deriving from qualitative research, the article examines the impact of the coronavirus crisis on the employment conditions and livelihood opportunities of actors/actresses in Greece; their mobilisations during the same period. Findings show that despite the constraints imposed through containment and social-distancing measures, the enforced inactivity and the exposure of vulnerability incited collective discussions and triggered collective processes, due to fewer time constraints, but mainly because of the actors' own awareness of the precariousness of their working conditions.
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Mahmood Almuslehi. "A Critical Discourse Analysis of Hate Speech directed towards Iraqi TV Series’ Performers On Social Media." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 62, no. 4 (December 14, 2023): 292–311. http://dx.doi.org/10.36473/ujhss.v62i4.2295.
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This study investigates online hate speech directed against Iraqi actors and actresses in the online environment of Facebook and Instagram platforms. Fairclough’s (2001) Three-Dimensional Model is employed in this study to unravel the delicate fabric of language used in hate remarks, demonstrating its function in generating discriminatory discourse and falling under the broad purview of Critical Discourse Analysis (CDA). To provide nuanced insights into the mechanisms by which online hate speech operates and the wider socio-cultural implications it engenders, it also seeks to uncover the latent ideologies and belief systems that underlie hate comments and to illuminate their intersections with dominant ideologies.
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Sedana, I. Nyoman. "Directing Cymbeline: Leon activated attributes of God for the 38th Bali Arts Festival 2016." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 2, no. 1 (July 30, 2019): 12–33. http://dx.doi.org/10.31091/lekesan.v2i1.749.
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Applying the theory of Bali Creative Art, this paper looks at the theatre directing elements, concept, and method applied by Leon Rubin when he directed Shakespeare’s Cymbeline. Invited by the Head of the Bali Province Cultural Directorate to showcase a cross-cultural theatrical production, Leon selected and integrated twenty-five artists (actors/actresses, costume and lighting designers) from Bali, Indonesia; Malaysia, Mexico, Brazil, China, and England in a new work for the 38th Bali Arts Festival in 2016. Most of the actors were able to stay in Bali for three weeks to rehearse; the piece was also shown in limited seating venues in the villages of Ubud and Abian Semal for three nights in a row from 25 to 27 June 2016. Despite the great challenge for the non-Indonesian actors and director, all were finally able to collaborate under Leon’s direction and perform the Indonesian language translation of the original Shakespearian text. Although the local artists informed Leon that the Cymbeline play would be competing with sounds from loud speakers in several nearby performance venues and the stage crew offered the actors microphones—Leon did not allow sound amplification of the actors, musicians, narrator, or the singer. Surprising yet amusing local audiences with several uncommon features, the Cymbeline show was considered to be the best collaborative production among the nearly 350 performances presented during the month-long festival.
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Ragonese, Ruggero. "La donna mostro. L’"aging" nella commedia all’italiana fra generi e genere." Schermi. Storie e culture del cinema e dei media in Italia 6, no. 10 (February 28, 2022): 87–103. http://dx.doi.org/10.54103/2532-2486/15555.
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Sacred monsters: this is how most of the Italian media and public call actors Gassman, Mastroianni, Tognazzi, Manfredi, Sordi, to mark their legendary status in the Italian history of cinema. Comedy in particular is strongly associated with, and often defined by, the presence of these immensely popular male stars. However, this same period of time, this unique genre, has often relegated female figures to fixed stereotypes (the young maiden, the older woman, the mature one). How can we investigate such a complex phenomenon as the Commedia all’Italiana from a gender point of view? For example, by observing the different representations of time and of the aging process in the bodies of actors, actresses and characters (with particular attention to the works of Antonio Pietrangeli). In this way perhaps we will find another kind of “monstrosity”: female otherness, constantly looking for its (uncomfortable) position within movies that are unapologetic representations of the male gaze.
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Shortland, Michael. "Unnatural Acts: Art and Passion on the Mid-Eighteenth-Century Stage." Theatre Research International 12, no. 2 (1987): 93–110. http://dx.doi.org/10.1017/s0307883300013444.
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The so-called ‘theatrical revolution’ of the mid-eighteenth-century is generally hailed as the turning point in the history of English acting patterns, writing styles and playhouse management. As with any revolution, its origins and development have been described by leading participants from the viewpoint of the victor. It is a story of the pioneering labours of such figures as David Garrick and Charles Macklin rendering new performances, of old plays being reset and recast, of puffing up the pride and the prestige of the profession of actors and actresses. In true revolutionary manner, the accumulated weight of tradition which had borne down so heavily on individual talents, narrowing and stifling them, was cast aside. Under the banner of‘realism’ (in some accounts ‘naturalism’), a new generation of actors breathed life into dusty theatres and threw down the challenge of novelty: new styles, new acting manuals, new forms of expression, new representations on stage.