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Journal articles on the topic 'Actress'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Wong, Bethany. "Cloaked Actress in Evelina and The Wanderer." Burney Journal 16 (December 31, 2019): 30–51. https://doi.org/10.26443/tbj.v16i.492.

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This essay revisits the apparent opposition between theater and the novel as well as the public actress and private heroine to identify what I call “virtuous theatricality” in Frances Burney’s conception of authorship. This term celebrates her complex appreciation for, and appropriation of, the theater and role playing in her novels. Building on recent work about celebrity actresses by Laura Engel, Felicity Nussbaum, Gill Perry, and others, I argue that Burney’s construction of authorial identity recalls the professional actress’s skillful negotiation between her public and private personas. F

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2

Wiet, Victoria. "The Actress in Nature: Environments of Artistic Development in Victorian Fiction and Memoir." Nineteenth Century Theatre and Film 45, no. 2 (2018): 232–53. http://dx.doi.org/10.1177/1748372718823663.

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This essay provides a new approach to reading actress memoirs in light of the influence of environmental thinking on Victorian culture more broadly and acting theory in particular. By demonstrating that actress autobiographies were written within a discursive domain that understood human temperaments and biographical trajectories to be fundamentally shaped by social and physical surroundings, I examine how renowned actresses narrate the conditions within which their temperament developed. In order to do so, I first examine the entanglement of environment and character in novels about actress p

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3

Zapperi, Giovanna. "From Acting to Action: Delphine Seyrig, Les Insoumuses, and Feminist Video in 1970s France." Konturen 12 (2022): 24–46. http://dx.doi.org/10.5399/uo/konturen.12.0.4914.

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Mostly known as one of the leading actresses in 1960s-1970s French cinema, Delphine Seyrig was also a media and a feminist activist working collaboratively within the framework of the women’s liberation movement. This article proposes to tackle Seyrig’s involvement in feminist video production the 1970s and explores the continuum she inhabited, from the auteur cinema in which she was actress and muse, to the disobedient practices in which she was video maker, actress and activist. Seyrig’s meditation on her work as an actress, as well as on the patriarchal structures sustaining the film indust

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4

Syarief, Fauzi, Susana Susana, and Jaqualine Pramanta Putra. "Fenomena Film Dalam Keberagaman Seni Peran dan Budaya." Akrab Juara : Jurnal Ilmu-ilmu Sosial 8, no. 2 (2023): 49. http://dx.doi.org/10.58487/akrabjuara.v8i2.2083.

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This research suggests an actor or actress, i.e. how an actor or actress in the role of a local character in a movie that was themed cultural diversity. The researchers used a qualitative research method with the approach of the study of Phenomenology that became a phenomenon and how the experience of an actor or actress in the role of animates to look realistic se maybe. Social construction theory researchers wear property of Peter l. Berger. These studies resulted that in any one actor or role animates actresses observational or should do the work directly into the field in order to adapt to

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5

Miquel-Baldellou, Marta. "From Margo Channing to Margaret Elliot: The Aging Actress, Age Performance, and the Dictates of Aging in Joseph Mankiewicz’s All about Eve and Stuart Heisler’s The Star." Athens Journal of Humanities & Arts 10, no. 3 (2023): 267–86. http://dx.doi.org/10.30958/ajha.10-3-5.

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Bette Davis played the role of an aging actress in different films throughout her career. In Joseph Mankiewicz’s All about Eve (1950), Davis performs one of her most highly acclaimed parts as Margo Channing, a mature actress who must face the decline of her acting career upon the arrival of a younger and ambitious counterpart. Only two years later, in Stuart Heisler’s The Star (1952), Davis once more played the role of an aging actress, Margaret Elliot, who refuses to accept that her career as an actress has come to an end, thus taking a bleaker approach in comparison with Mankiewicz’s film. B

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6

Bonapfel, Elizabeth M. "Reading Publicity Photographs through the Elizabeth Robins Archive: How Images of the Actress and the Queen Constructed a New Sexual Ideal." Theatre Survey 57, no. 1 (2015): 109–31. http://dx.doi.org/10.1017/s0040557415000587.

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In this article, I trace the origins of the normalization of pornographic tropes as the new sexual ideal in contemporary visual culture to late nineteenth- and early twentieth-century publicity photos of actresses and monarchs by examining one prominent transatlantic actress's collection of publicity photos, the Elizabeth Robins Papers at the Fales Library at New York University. As I show, around the turn of the twentieth century, a new standard of idealized feminine beauty was produced by the combination of two contradictory images of celebrity: the distant decorum of the monarch and the per

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7

Schweitzer, Marlis. "Assuming the Whore Position: Theatrical Performance and Prostitution." Canadian Theatre Review 134 (March 2008): 77–79. http://dx.doi.org/10.3138/ctr.134.014.

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Kirsten Pullen’s Actresses and Whores: On Stage and in Society explores the long-standing and still-lingering association between theatrical performance and prostitution. Although theatre historians have explored this subject at some length, as seen most prominently in Tracy C. Davis’s Actresses as Working Women, Faye E. Dudden’s Actresses and Audiences, and Katie N. Johnson’s Sisters in Sin, the transnational and transhistorical scope of this engaging book makes it an exciting addition to the field. Indeed, what is perhaps most notable about Actresses and Whores is its methodology. Rather tha

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8

Savage, Elizabeth. "Making Mary: Imitation and Infamy in the Eighteenth-Century Theater." Restoration and Eighteenth-Century Theatre Research 30, no. 1-2 (2015): 73–87. http://dx.doi.org/10.5325/rectr.30.1-2.0073.

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Abstract This essay interrogates how the scandalous actress Mary Wells “shadowed” Sarah Siddons through her imitations of the actress; using performance theory and contemporary reviews, it suggests that these imitations allowed Wells to borrow some of Siddons’ fame at the same time that they exposed the duplicity at the heart of the tragic queen’s performance. The contrast between the simultaneously shifting and transparent Wells and the static and opaque Siddons would have been striking to the audience, as Siddons’ aloof distance from her admirers left a path of access to Wells, who would gla

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9

COLLETT, EMILY. "THEATRE COSTUME, CELEBRITY PERSONA, AND THE ARCHIVE." Persona Studies 5, no. 2 (2020): 83–97. http://dx.doi.org/10.21153/psj2019vol5no2art918.

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This essay considers the archived costume in relation to the concept of the celebrity performer’s persona. It takes as its case study the Shakespearean costume of Indigenous actress Deborah Mailman, housed in the Australian Performing Arts Collection. It considers what the materiality of the theatre costume might reveal and conceal about a performer’s personas. It asks to what extent artefacts in an archive might both create a new persona or freezeframe a particular construct of a performer. Central to the essay are questions of agency in relation to the memorialisation of a still living actre

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10

Wixson, Christopher. "The Rule and the Exception: Katharine Cornell and Peggy Wood Reviving Candida." Shaw 44, no. 1 (2024): 103–21. http://dx.doi.org/10.5325/shaw.44.1.0103.

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ABSTRACT Candida would become a signature role for American actress Katharine Cornell, but her initial outing in the part in 1924 was unexpectedly marred by a scheduling snafu that resulted in her being replaced by another actress, Mary Margaret (Peggy) Wood. At that time, Wood had only appeared in musical comedies and was an unusual casting choice. The opportunity for the public to compare two very different characterizations occasioned a reexamination of Candida and of Candida that not only pondered which version by two modern actresses was closer to Shaw’s original conception but reframed t

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11

Schweitzer, Marlis. "“The Mad Search for Beauty”: Actresses' Testimonials, the Cosmetics Industry, and the “Democratization of Beauty”." Journal of the Gilded Age and Progressive Era 4, no. 3 (2005): 255–92. http://dx.doi.org/10.1017/s1537781400002656.

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“Actresses as a rule know no more about making themselves beautiful than does the average woman; neither are they naturally more beautiful,” wrote actress Margaret Illington Banes in a 1912 article entitled “The Mad Search for Beauty.” “The truth of the matter is,” she continued, “that no actress—or any woman—can impart the secrets of beauty to another, any more than the rich man can impart the secrets of business success to some other man.” Disturbed by recent trends in the theatrical profession that required actresses to present themselves as “beauty specialists,” Banes sought to expose the

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12

Martínez-García, Laura. "Nelly or Ellen? Revamping the first English actresses in contemporary popular culture." Sederi, no. 27 (2017): 213–28. http://dx.doi.org/10.34136/sederi.2017.10.

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The first British actresses have been the focus of extensive scholarly study, transposing the boundaries of academic life and irrupting in popular culture and becoming a part of the public imagination and folklore. This paper studies the perception we have inherited of “Pretty, Witty Nell,” probably the best-known actress of the Restoration, through the analysis of two novels—Priya Parmar’s Exit the Actress and Gillian Bagwell’s The Darling Strumpet—that reconstruct Gwyn’s life turning the “Protestant Whore” into a learned lady and a devoted mother. This revamping of her figure not only entail

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13

Hankey, Julie. "Body Language, the Idea of the Actress, and Some Nineteenth-Century Actress-Heroines." New Theatre Quarterly 8, no. 31 (1992): 226–40. http://dx.doi.org/10.1017/s0266464x00006850.

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The actor, as a reminder of personal mutability, has always provoked the condemnation of absolutist philosophers and churchmen. Historically, this anti-theatrical prejudice has pressed even harder on the actress, for in her case ‘personal’ connotes sexual mutability. In Victorian times, when purity was enjoined on Woman for Man's sake as well as her own, the actress's situation was further complicated. In the following article, Julie Hankey examines the treatment of actress-characters in certain novels of the nineteenth century – Wilkie Collin's No Name, Geraldine Jewsbury's The Half-Sisters,

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14

Grime, Helen. "Gwen Ffrangcon-Davies: ‘Ethereal from the Waist Up and All Welsh Pony Down Below’." New Theatre Quarterly 27, no. 3 (2011): 203–14. http://dx.doi.org/10.1017/s0266464x1100042x.

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In this article Helen Grime examines the enduring epithet of ethereality and its persistent connection to the career of the actress Gwen Ffrangcon-Davies (1891–1992). Most closely associated with her portrayal of Etain in the much revived musical drama The Immortal Hour, ethereality is understood as a signifier of 1920s femininity. The offstage presentation of a domesticated femininity further evidences the apparent conventionality of this actress's self-presentation at a time of particular anxiety about the socio-political position of women. These notions of femininity hint at the prevailing

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15

Granzer, Susanne Valerie. "'The Shadow of One’s Own Head' or The Spectacle of Creativity." Performance Philosophy 3, no. 3 (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 art

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16

Malik, Sabreena. "An OSCE actress." BMJ 332, no. 7542 (2006): s110. http://dx.doi.org/10.1136/bmj.332.7542.s110.

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17

Price, Adam O’Fallon. "The Famous Actress." Colorado Review 50, no. 2 (2023): 33–49. http://dx.doi.org/10.1353/col.2023.a902693.

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18

Roguska, Julia. "Od Połtawy do Odessy. Wiera Chołodnaja – fenomen gwiazdy kina niemego." Studia Ucrainica Varsoviensia 5, no. 5 (2017): 0. http://dx.doi.org/10.5604/01.3001.0009.9118.

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This article introduces the profi le of Vera Kholodnaya – a silent fi lm actress. The work of the artist, once regarded as one of the biggest stars of the Russian cinema, today is somewhat forgotten. One of the causes of Kholodnaya’s achievements is the fact that most of the fi lms with her participation have not survived to our times. After Bolsheviks came to power, the legacy of the actress, like that of many other fi lmmakers of the pre-revolutionary era, sank to oblivion. The article is an attempt to outline the most important stages of Kholodnaya’s life and artistic activity. The author f

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19

Pettersson, Lin Elinor. "The Music-Hall Actress and Transcending Femininity in the Victorian Public Sphere. A Re-Orientation of Her Moral Status." Clepsydra. Revista de Estudios de Género y Teoría Feminista, no. 22 (2022): 95–110. http://dx.doi.org/10.25145/j.clepsydra.2022.22.05.

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The actress, like the prostitute, was one of the female figures who in the nineteenth century bore a certain social stigma for being professionally active in public and non-domestic roles that were considered vulgar and immoral. This prejudiced view is indebted to the ideology of separate spheres, which has proven to be both class-bound and unstable. While critics as Davis (1991) and Kift (1996) have questioned the overgeneralised association between actresses and prostitutes, feminist scholars have challenged the strict separation of gendered spheres, and argued for the instability and fluidi

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20

Tymoshenko, Alyona. "The image of the hero in modern Ukrainian cinema. Interview with Anastasia Karpenko." UKRAINIAN CULTURAL STUDIES, no. 2 (15) (2024): 70–72. https://doi.org/10.17721/ucs.2024.2(15).13.

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Anastasia Karpenko is a popular Ukrainian film and theatre actress. She received the Best Actress award from the Ciné+ jury at the 75th International International Film Festival in Locarno for her role in the film How is Katya? ’, actress Kyiv Academic Theatre of Drama and Comedy on the left bank of the Dnipro River.

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21

Ohlsson, Hélène. "Representing Pariah Femininity. Sexuality, gender, and class at the fin-de-siècle." Nordic Theatre Studies 29, no. 1 (2017): 44. http://dx.doi.org/10.7146/nts.v29i1.102967.

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This article discusses the representation of an actress’s sexuality, femininity, and class at the fin-de-siècle with an emphasis on pariah femininity. The central empirical sources for this study are the correspondence between King Oscar II (1829-1907) and Baroness Henriette Coyet (1859-1941) about the famous actress Ellen Hartman (1860-1945). Tracy C. Davis’s feminist historiographical methodology is put to use in the analysis in combination with Mimi Shipper’s notion pariah femininity. The analysis of the correspondence shows how the actress Ellen Hartman’s femininity was discursively const

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22

Ohlsson, Hélène. "Representing Pariah Femininity. Sexuality, gender, and class at the fin-de-siècle." Nordic Theatre Studies 29, no. 1 (2018): 44. http://dx.doi.org/10.7146/nts.v29i1.103308.

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This article discusses the representation of an actress’s sexuality, femininity, and class at the fin-de-siècle with an emphasis on pariah femininity. The central empirical sources for this study are the correspondence between King Oscar II (1829-1907) and Baroness Henriette Coyet (1859-1941) about the famous actress Ellen Hartman (1860-1945). Tracy C. Davis’s feminist historiographical methodology is put to use in the analysis in combination with Mimi Shipper’s notion pariah femininity. The analysis of the correspondence shows how the actress Ellen Hartman’s femininity was discursively constr

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23

Heather, Jane. "Women’s Circle: Women’s Theatre." Canadian Theatre Review 69 (December 1991): 5–14. http://dx.doi.org/10.3138/ctr.69.001.

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This article is based upon individual interviews conducted by Wendy Philpott with each member of Catalyst Theatre’s Women’s Circle Collective: Marilyn McLean, Community Co-ordinator for Catalyst Theatre, actresses Patricia Darbasie and Patricia Drake, actress and animator fane Heather, director fan Selman, researcher and dramaturge Lise Ann Johnson and writer Shirley Barrie. The article was written by fane Heather and fan Selman with assistance from Lise Ann Johnson and Wendy Philpott.

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24

Naturel, Mireille. "Marcel Proust : la Berma, figure de l’artiste, figure maternelle." Studia Universitatis Babeş-Bolyai Dramatica 65, no. 2 (2020): 203–20. http://dx.doi.org/10.24193/subbdrama.2020.2.10.

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"Marcel Proust : The Berma, Actress’ Figure, Motherhood’s Character. La Berma is an actress in Proust’s novel À la recherche du temps perdu. Her main model is Sarah Bernhardt and she has the same beautiful voice, a golden voice. Both of them are famous for their role of Phèdre in Racine’s drama. Theatre represents firstly a family matter and a social challenge. The child discovers theatre outside theatre where he is not allowed to go, that is on posters from the Morris column. And the first approach is semiotic. Theatre is included in narration, through two performances that the hero attends.

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25

Decker, Michael J. "Theodora: Actress, Empress, Saint." History: Reviews of New Books 45, no. 1 (2016): 8–9. http://dx.doi.org/10.1080/03612759.2017.1255010.

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26

Cameron, Averil. "Theodora: Actress, Empress, Saint." Common Knowledge 23, no. 2 (2017): 348.1–348. http://dx.doi.org/10.1215/0961754x-3815906.

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27

Novak, Deborah. "What every actress knows." Women & Performance: a journal of feminist theory 6, no. 2 (1993): 85–91. http://dx.doi.org/10.1080/07407709308571183.

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28

Iannone, Carol. "Acting like an Actress." Academic Questions 36, no. 1 (2023): 48–56. http://dx.doi.org/10.51845/36.1.8.

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The new edition of a book about the box office failure of the 1990 movie Bonfire of the Vanities provides a chance to consider the representation of offensive, scurrilous, and sensitive subjects in art.

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29

Villot, Janine. "Chasing the Millennium Actress." Science Fiction Film & Television 7, no. 3 (2014): 343–64. http://dx.doi.org/10.3828/sfftv.2014.20.

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30

Hutubessy, Josina Irene Brigetha. "PENGGUNAAN METODE SAMBUNG SAMPING PADA BEBERAPA KLON KAKAO (Theobroma cacao L.) SEBAGAI SUMBER BAHAN TANAM." AGRICA 13, no. 1 (2020): 77–86. http://dx.doi.org/10.37478/agr.v13i1.380.

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Side grafting technology, side grafting is a cocoa plant improvement technique that is done by inserting the stem of superior clones. This study aims to determine the effect of Janis entries on the side grafting growth of cocoa plants and the types of good entries in the growth of side grafting cacao plant.The plan used in this study was a randomized block design (RBD) with treatments used were local clone actress (E1), superior clone actress ICCRI 03 (E2), superior clone actress ICCRI 04 (E3), Sulawesi superior clone 01 (E4) ), Superior actress of Sulawesi Clone 02 (E5). The observational var

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31

J, Rini Afrilesa. "Flouting Maxim of Quality in Situational Comedy ‘Lapor Pak’." Jurnal Ilmiah Langue and Parole 6, no. 1 (2022): 27–31. http://dx.doi.org/10.36057/jilp.v6i1.550.

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This research conducted on flouting quality maxim uttered by the actors and actress in the Lapor Pak Comedy. The problems of the research are: (1) What floutings forms of quality maxim are gone through by the actors and actress in Lapor Pak Comedy? (2) What are the reasons of the actors/actress flouted the maxims of quality? The purposes of this research are: (1) To identify forms of flouting quality maxims sustained by actors/actress in Lapor Pak Comedy (2) To describe the contextual meanings which are used by the actors/actress who flouted the maxims of quality. Descriptive qualitative metho

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32

Yakubova, Natalia. "Behind the Scenes: Theatre Women Write to Literary Men." New Theatre Quarterly 32, no. 3 (2016): 210–30. http://dx.doi.org/10.1017/s0266464x16000208.

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In this article Natalia Yakubova explores the interactions between theatre and literature as between an actress on one side and a man of letters on the other. The interactions discussed here came at a particular historical moment, when the transition from an actor-centred to a director-centred hierarchy was taking place, and the article deals with the letters written by actresses to the men who were playwrights and/or theoreticians of the new theatre: Eleonora Duse writing to Gabriele D’Annunzio, Vera Komissarzhevskaya to Valery Bryusov, Irena Solska to Jerzy Żuławski, and Gertrud Eysoldt to H

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33

Guizhi, Yan. "Redefining “Actress”--Deconstruction of the Traditional “Actress” Image in Jia Ling’s Sketch “Titanic”." International Journal of Literature and Arts 8, no. 2 (2020): 93. http://dx.doi.org/10.11648/j.ijla.20200802.19.

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34

Ayush, Kumar Verma. "The Legal Viability of "Non Pregnancy Clauses" in Film Contract Legal Analysis." International Journal of Trend in Scientific Research and Development 2, no. 5 (2018): 1004–6. https://doi.org/10.31142/ijtsrd17024.

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An NPC in film contracts prohibits an actress from getting pregnant until completion of principal photography for the film, a breach of which leads to the dismissal of the actress and or a claim for damages . The consideration of such a provision is attributed to the trouble related with shooting complicated scenes with the pregnant actress because of health concerns, the development of mid riff of an actress upon pregnancy, which is in accordance with the script, and the disturbance in the shooting plan in light of inaccessibility of the performer on the agreed dates, prompting budgetary loss

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35

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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36

Ekaterina, Smesova. "VERA KOMISSARZHEVSKAYA AND THE PAGES OF THE HISTORY OF THEATER ART OF TURKESTAN REGION." LOOK TO THE PAST 5, Special issue 3 (2020): 134–39. https://doi.org/10.5281/zenodo.6583079.

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The article, based on archival, scientific and Internet sources, shows the positive influence of the Russian theater in the Turkestan region. The arrival of the Russian actress V.F. Komissarzhevskaya to Turkestan, as well as the tragic death of a Russian actress.

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37

Jayanti, Elvira Eka, Nova Indriani, Vera Febrianti, An’nisa Purnama, and M. Afifulloh. "Racism in the film The Little Mermaid: Assessing its impact on social media." Loquēla (Journal of Linguistics, Literature, and Education) 2, no. 1 (2024): 22–28. http://dx.doi.org/10.61276/loqula.v2i1.29.

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The controversy surrounding the casting of Halle Bailey, a black actress, as Ariel in the live-action adaptation of "The Little Mermaid" has sparked discussions about racism and representation in the media. Some people have rejected the idea of a black actress playing the role of a character who was initially depicted as white. The controversy highlights the ongoing struggle for representation and diversity in the entertainment industry. This research aims to see how people respond to the film The Little Mermaid in real life with a black main character. The Little Mermaid, a Disney classic, ha

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38

Law, Alma. "À la recherche de Meyerhold : Maria Babanova." Slovo 22, no. 1 (1999): 79–92. https://doi.org/10.3406/slovo.1999.1173.

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«In Search of Maria Babanova». Here we have an exceptional testimony on the decline of an actress who has been a star of Soviet theater and cinema, Maria Babanova. We see how an American specialist tries in vain to have first hand information on the life of this actress. The attempt to meet Maria Babanova unveils in a vivid manner the particular atmosphere of the years of «stagnation». In the end, it appeared impossible to know from Babanova what was her real relationship with the famous director Meyerhold, in whose theater she was the leading actress in the 1920s.

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39

Davis, Tracy C. "The Actress in Victorian Pornography." Theatre Journal 41, no. 3 (1989): 294. http://dx.doi.org/10.2307/3208182.

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40

Prosperi, Mario. "Marina Confalone: A Neapolitan Actress." Drama Review: TDR 29, no. 4 (1985): 13. http://dx.doi.org/10.2307/1145686.

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41

Karlin, Susan. "Careers: Denee Busby: technical actress." IEEE Spectrum 45, no. 6 (2008): 25. http://dx.doi.org/10.1109/mspec.2008.4531451.

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42

Kelly, Gillian. "Vivien Leigh: Actress and Icon." Historical Journal of Film, Radio and Television 39, no. 2 (2018): 414–16. http://dx.doi.org/10.1080/01439685.2018.1524554.

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43

Griffith, James D., Lea T. Adams, Christian L. Hart, and Sharon Mitchell. "Why Become a Pornography Actress?" International Journal of Sexual Health 24, no. 3 (2012): 165–80. http://dx.doi.org/10.1080/19317611.2012.666514.

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44

Jobling, Mark A. "The bishop and the actress." Investigative Genetics 3, no. 1 (2012): 27. http://dx.doi.org/10.1186/2041-2223-3-27.

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45

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 (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, whi

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Bulysheva, Elena V. "V.N. Chuvakov. My Meetings and Correspondence with Elena Aleksandrovna Polevitskaya (1958–1968)." Literary Fact, no. 22 (2021): 146–63. http://dx.doi.org/10.22455/2541-8297-2021-22-146-163.

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The published diary entries of the famous literary critic and bibliographer V.N. Chuvakov are devoted to his meetings with the actress E.A. Polevitskaya in 1958–1961. In the text there is an image of an actress who was extremely popular in the 1910s, who had a long and difficult creative path, but still needed theater and acting. From Polevitskaya’s memoirs about her theatrical activity and about the theater of the early 20th century Chuvakov builds the main plot for him, associated with the name of Leonid Andreev. Fragmentary, inconsistent, but vivid, the actress’ memories about her creative

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BOWDITCH, ISOBEL. "Inter et Inter: A Report on the Metamorphosis of an Actress." PhaenEx 4, no. 1 (2009): 30. http://dx.doi.org/10.22329/p.v4i1.611.

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In 1847, Johanne Luise Heiberg, a thirty-year old Danish actress and friend of Søren Kierkegaard, performed the role of Juliet in Shakespeare’s Romeo and Juliet in the Copenhagen theatre. She had played Juliet once before, aged 16, and it was this first performance which helped to launch her prestigious career. The 1847 performance prompted Kierkegaard to write an article for the newspaper Fædrelandet, called 'The Crisis and a Crisis in the Life of an Actress' under the name of Inter et Inter. Its publication contradicted Kierkegaard’s resolve to cease his literary authorship and to write dire

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Rosa-Lavrentii, Sofiia. "Ukrainian Theater Actresses in Eastern Galicia." Pamiętnik Teatralny 69, no. 3 (2020): 151–70. http://dx.doi.org/10.36744/pt.441.

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This article offers a typology of the experiences of Ukrainian theater actresses in Eastern Galicia from the end of the 19th to the first half of the 20th centuries, identifying the most common artistic and biographical trajectories that make up the particular continuities of women’s collective cultural experience. The “images” of these Ukrainian actress are delineated according to how they were constructed by the contemporary Ukrainian press, and their peculiarities are identified in accordance with the specifics of the activities of Ukrainian theater in Eastern Galicia during the period in q

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Hrvatin, Varja. "What’s that blinking line in Word called again?" Maska 35, no. 200 (2020): 25–27. http://dx.doi.org/10.1386/maska_00026_1.

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The entire monologue is a transcription of the inner train of thought narrated by a woman’s voice in medias res while watching and listening to three minutes of the film Koyaanisqatsi. We don’t see the actress; we only hear her. The only thing we see is a three-minute excerpt from the film, which the actress can play on her phone or computer, recording the screen and the sound with her phone (live) at the same time (instead of recording herself, the actress records the screen with sound). The interpretation should be very brisk, hurried, internalised, contemplative yet neurotic, almost hysteri

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Lips, Adrián, Dorottya Mátravölgyi, and Bettina Sztruhár. "A posztháborús állapot reprezentációja Szeleczky Zita sajtómegjelenéseiben, népbírósági perében és magánlevelezéseiben." Symbolon 23, no. 2 (2022): 87–108. http://dx.doi.org/10.46522/s.2022.02.8.

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From 1936 to 1944, the Hungarian star world created a unique tabloid environment in both the print press and film production. Zita Szeleczky (1905–1999), one of the most popular Hungarian actresses of the 1930s and 1940s, was on the one hand called the little sister of the nation, and on the other hand, politically stigmatised on several occasions for her clumsy career planning and self-expression. The latter was due to the fact that, from the first years of the Second World War onwards, the actress made a number of objectionable decisions out of naivety, vanity or resentment. Her death was re

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