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Journal articles on the topic 'Improvisation (Acting) Method acting'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

Kozodaev, Pavel I., and Ekaterina K. Titova. "Pedagogical factors of formation of improvisational acting skills in amateur theatre." Psychological-Pedagogical Journal GAUDEAMUS, no. 47 (2021): 21–30. http://dx.doi.org/10.20310/1810-231x-2021-20-1(47)-21-30.

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We consider some issues of modern society related to the growing trend of social and emotional isolation of the individual, changes in their worldview, leading to the degradation of thinking and intellectual abilities. There is need to search for psychological and pedagogical ways, means and methods to activate the intellectual, emotional and creative development of the individual. A possible way to solve the identified social issues is the possibility of forming a person's skills for improvisation. We consider the implementation of this process in educational and creative activities of an ama

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2

Barnych, Mykhailo, and Nataliіa Horbachuk. "Acting: From Imagination to Transformation." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (2021): 18–27. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235062.

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The purpose of the research is to analyze the actor’s work on himself before going on stage or set and reveal the main ways to prepare the actor for a stage role or movie role in the imagination. Working on a role in the imagination is one of the most important points in preparing for playing on stage or the set. The research methodology is based on the theoretical and analytical method of defining the main creative methods of preparing an actor for the playing and their application while playing to get used to the role. The scientific novelty consists in a holistic study of the work of a thea

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3

박서연 and Nakwon Song. "A study of improvisational acting theory and method." journal of the moving image technology associon of korea 1, no. 23 (2015): 99–117. http://dx.doi.org/10.34269/mitak.2015.1.23.006.

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4

Budanov, Vladimir Grigoryevich, and Tamara Andreevna Sinitcyna. "Quantum-synergetic ontology of generalized corporeality (Part III): psychosemantic language of theater, anthropological jazz." Культура и искусство, no. 12 (December 2020): 138–59. http://dx.doi.org/10.7256/2454-0625.2020.12.34793.

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This article is a continuation of the topic on methodology of generalized corporeality, which stems from the concept of quantum-synergetic anthropology, developed in the previous parts of the triptych. Ontologies of the states (functional bodies and subbodies of generalized corporeality), as well as temporal ontologies are viewed on the example of theatrical acting. The author structures an isomorphism of the well-known musical notation, and representation of the changing anthropological profile in form of a chord of the simultaneously activated &ldquo;resonating&rdquo; states of the a

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5

Keogh, Kathleen, and Liz Sonenberg. "Designing Multi-Agent System Organisations for Flexible Runtime Behaviour." Applied Sciences 10, no. 15 (2020): 5335. http://dx.doi.org/10.3390/app10155335.

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We address the challenge of multi-agent system (MAS) design for organisations of agents acting in dynamic and uncertain environments where runtime flexibility is required to enable improvisation through sharing knowledge and adapting behaviour. We identify behavioural features that correspond to runtime improvisation by agents in a MAS organisation and from this analysis describe the OJAzzIC meta-model and an associated design method. We present results from simulation scenarios, varying both problem complexity and the level of organisational support provided in the design, to show that increa

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6

Yevsyukov, Yu S. "Characteristic features of the upbringing of modern actor." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 209–22. http://dx.doi.org/10.34064/khnum1-51.12.

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In the time of changing global norms and rapidly developing technologies, modern theatre constantly evolves, adopting new theatrical forms; many of these emerged at the turn of the twentieth and twenty first centuries. In this regard, it is appropriate to talk about the formation of the new creative individual, the modern actor in contemporary theatre. Higher educational institutions, for both theatrical and cinematic professionals, should be aimed to develop not only highly qualified and competitive experts, but also creative individuals. As society is constantly evolving both culturally and

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7

Merlin, Bella. "Albert Filozov and the Method of Physical Actions." New Theatre Quarterly 15, no. 3 (1999): 228–35. http://dx.doi.org/10.1017/s0266464x00013026.

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As a complementary piece to her preceding article on the formative significance of The Seagull to Stanislavsky's early thinking, Bella Merlin here looks at the play in the context of Stanislavsky's later work, when he was developing the Method of Physical Actions – an approach to a text which placed improvisation and the physical exploration of a scene at the centre of the actor's rehearsal process. This was in some ways a contravention of what was becoming codified in the West (through limited material being available in translation) as the psychological basis of the system. In 1995, Bella Me

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8

Hattori, Kenji. "Utilizing Applied Drama in Clinical Ethics Education." Studia Universitatis Babeş-Bolyai Bioethica 66, Special Issue (2021): 88. http://dx.doi.org/10.24193/subbbioethica.2021.spiss.53.

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"We examine the significance and necessity of introducing applied drama into clinical ethics education to build ethics competency. Case-based clinical ethics, distant from abstract theory-based discursive ethics, pays close attention to emotions of persons involved in a given case, and of participants in deliberation. Some authors have sensibly emphasized this point. For example, CURA, a reflective method puts forward the crucial step to become aware of own emotions and physical reactions to each difficult situation. These suggest that we should not stay just in rational reasoning to resolve m

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9

Friedberg, Robert D., and Gina M. Brelsford. "Training Methods in Cognitive Behavioral Therapy: Tradition and Invention." Journal of Cognitive Psychotherapy 27, no. 1 (2013): 19–29. http://dx.doi.org/10.1891/0889-8391.27.1.19.

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Cognitive behavioral supervisors influence new generations of clients and clinicians. Accordingly, the task is meaningful, rewarding, challenging, and critically important. This article describes traditional and unconventional approaches to supervising clinicians in cognitive behavioral therapy (CBT). Traditional methods such as the use of the Cognitive Therapy Rating Scale, videotape/audiotape review, live supervision, and cotherapy are reviewed. Further, inventive procedures for teaching supervisees cognitive flexibility, empathy, tolerance for ambiguity, and remaining steadfast when faced w

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10

Kovalenko, Yu B. "Composition and improvisation in the aspect of the music infl uence on the expressive structure of the fi lm." Aspects of Historical Musicology 15, no. 15 (2019): 60–79. http://dx.doi.org/10.34064/khnum2-15.03.

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Background. In recent years, there has been an increasing interest in interdisciplinary research of arts due to the fact that human consciousness has a unity of principles and approaches in the perception of the surrounding world. In this regard, synthetic arts are of particular interest because they form their creative potential by the expressive means of their art forms. And cinema is one of those open to interaction with the audiovisual means of its other components. There are a lot of studies on fi lm music that contain the analysis of functional and structural features, as well as a point

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11

Arkadin-Shkolnik, Oleksandr. "Improvisational self-feeling in the upbringing of actor’s and stage directing mastery." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (2018): 121–35. http://dx.doi.org/10.34064/khnum1-50.09.

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Formulation of the problem. Relevance of the theme, the aim and material of research. The article deals with the related concepts of improvisation and improvisational self-feeling, state of health that is a special internal state that allows the actor to fully demonstrate his talent, to get rid of stamps, physical and psychological clamps and mechanistic “playing on cothurni”. The theme of improvisation in artistic creativity in general and in stage art in particular, undoubtedly, can be attributed to the circle of “eternal” ones, which over the time not lose their relevance and can acquire ne

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12

Kryvosheieva, O. V. "Imagination as one of the key elements in the formation of a future actor psychotechnics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 299–311. http://dx.doi.org/10.34064/khnum1-56.19.

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Background. One of the most important questions in the acting profession is how to educate the psychophysical apparatus of the actor, what it consists of, what exercises will be useful and will be able to develop the necessary psychophysical qualities. Therefore, the theatrical teachers often turn to the sciences, which study the human, to be able to rely not only on the personal experience and on theoretical works of famous theatrical figures. Therefore, K. Stanislavsky creating theory of art turned to experimental psychology, the theory of conditioned reflexes by I. Pavlov. K. Stanislavsky s

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13

Briones, Fernando, Ryan Vachon, and Michael Glantz. "Local responses to disasters: recent lessons from zero-order responders." Disaster Prevention and Management: An International Journal 28, no. 1 (2019): 119–25. http://dx.doi.org/10.1108/dpm-05-2018-0151.

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PurposeThe purpose of this paper is to define and discuss the concept of zero-order responders (ZOR). It explores the potential lessons and the additive value that assimilation of responses of disaster-affected people into disaster risk reduction (DRR) and disaster risk management (DRM) programs can provide.Design/methodology/approachIn order to support this concept, the authors review two recent extreme hydrometeorological events, illustrating how local populations cope with disasters during the period before external support arrives. Additionally, the authors address their under-leveraged ro

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14

Kersten, Courtney. "Method Acting." River Teeth: A Journal of Nonfiction Narrative 16, no. 2 (2015): 135–47. http://dx.doi.org/10.1353/rvt.2015.0008.

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15

Kate Flaherty. "Method Acting." Prairie Schooner 84, no. 3 (2010): 141–53. http://dx.doi.org/10.1353/psg.2010.0036.

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16

Vilc, Sonja. "Acting together: The art of collective improvisation in theatre and politics." Filozofija i drustvo 28, no. 1 (2017): 32–40. http://dx.doi.org/10.2298/fid1701032v.

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The paper analyzes the concept of collective improvisation and draws out its potentials for social and political theory. Translating the ideas of collective improvisation from their original context in the theatre into the field of political thought, I argue that they offer a new understanding of political action by reevaluating the concepts of dissensus (Ranci?re) and community (Nancy), as well as the ways in which politics as a system needs to produce collectively binding decisions (Luhmann). I conclude that the ideas inherent in the practice of collective improvisation, as it has been devel

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17

Park, Hoyoung. "Camera Acting Method." Journal of the Korea Contents Association 13, no. 7 (2013): 70–79. http://dx.doi.org/10.5392/jkca.2013.13.07.070.

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18

Yucha, C. B. "Understanding physiology by acting out concepts." Advances in Physiology Education 269, no. 6 (1995): S50. http://dx.doi.org/10.1152/advances.1995.269.6.s50.

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Typically, classes in anatomy and physiology are taught via lecture and visual aids. This seems to work well for students who are primarily auditory and visual learners but not for those who learn better through kinesthetic experiences. This is the first report describing the use of improvisation to act out physiological concepts within an anatomy and physiology course. Improvisational techniques encourage active participation and allow students to personally interact with and experience difficult concepts in the classroom. In this paper, sensory modality preferences for learning will be discu

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19

Taranda, G. L. "Development of Acting Abilities for Creating Choreographic Images As a Pedagogical Problem." Uchenye Zapiski RGSU 19, no. 4 (2020): 203–11. http://dx.doi.org/10.17922/2071-5323-2020-19-4-203-211.

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the article considers the process of developing acting abilities among dancers (ballet dancers and modern dance performers) from the point of view of pedagogy (educational methods) and psychology (ways to eliminate stage excitement). Features of choreographic art and creation of choreographic images are revealed. The specifics of the dancer’s creative activity and the role of acting abilities in the embodiment of artistic images on stage are determined. The effectiveness of the process under consideration is due: to the predominance of role and thematic improvisations, trainings, as well as ar

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20

Cho, Sung-Hee. "Analysis on Acting of Meryl Streep Based on American Acting Method." Journal of the Korea Entertainment Industry Association 14, no. 4 (2020): 47–55. http://dx.doi.org/10.21184/jkeia.2020.6.14.4.47.

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21

Lee, Ji-Eun. "Musical Acting Method Using Presentational Acting - Focused on Brecht’s Epic Theater Theory." Journal of the Korea Entertainment Industry Association 12, no. 8 (2018): 105–14. http://dx.doi.org/10.21184/jkeia.2018.12.12.8.105.

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22

Doyle, Charlotte L. "Social Interaction in the Art of Acting: Forms and Phases." Creativity. Theories – Research - Applications 3, no. 2 (2016): 211–28. http://dx.doi.org/10.1515/ctra-2016-0014.

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AbstractCreativity is here construed as an activity taking place in phases over time, one everywhere imbued with the social, whether the creator does much of the work alone as in fiction writing or with others where the creation itself is collaborative such as jazz improvisation. This paper considers the creation of theatrical roles, a domain in which some phases of the activity take place under solitary conditions and others involve face-to-face interaction. Grounded in a research review, the paper examines the phases of the creative process in scripted acting. It notes the kinds of social re

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23

Del Vecchio, A., C. Pfennig, and P. Moschella. "84 Medical Student Response to Improvisation and Acting Training: Novel Curriculum Pilot Study." Annals of Emergency Medicine 70, no. 4 (2017): S34—S35. http://dx.doi.org/10.1016/j.annemergmed.2017.07.109.

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24

Mykhailets, V. V. "The problems of vocal training in the conditions of modern choral art." Aspects of Historical Musicology 18, no. 18 (2019): 141–54. http://dx.doi.org/10.34064/khnum2-18.08.

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Background. The contemporary choral art has accumulated many bright samples, which present various performing directions and genres. Particularly interesting are those that include the traits traditionally not inherent to the choral performance. We will consider some of the requirements for the performance of choral music, put forward by the composers of the twentieth century, in particular, representatives of the new Viennese school and the Italian avant-garde, as well as the performance conditions, which require the tendency to adaptation for the stage of choral works and the improvisational

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25

McConachie, Bruce. "Method Acting and the Cold War." Theatre Survey 41, no. 1 (2000): 47–68. http://dx.doi.org/10.1017/s0040557400004385.

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Triumphalist accounts of the spread of “the Method” in post-World War II America generally explain its success as the victory of natural truths over benighted illusions about acting. In Method Actors: Three Generations of An American Acting Style, for instance, Steve Vineberg follows his summary of the primary attributes of “method” acting with the comment: “These concerns weren't invented by Stanislavski or his American successors; they emerged naturally out of the two thousand-year history of Western acting.” Hence, the final triumph of “the Method” was natural, even inevitable. Vineberg's s

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26

Griffin, Tim. "Method Acting: The Artist-Interviewer Conversation." Art Journal 64, no. 3 (2005): 70–77. http://dx.doi.org/10.1080/00043249.2005.10792840.

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27

Saivetx, Deborah. "An Event in Space: The Integration of Acting and Design in the Theatre of JoAnne Akalaitis." TDR/The Drama Review 42, no. 2 (1998): 132–56. http://dx.doi.org/10.1162/dram.1998.42.2.132.

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Whatever [the actor] represents in the play, in the order of time he is representing nobody but himself. How could he? That's his body, doing time. —Herbert Blau Improvisation must be a research activity conducted by someone who is trying to break out oftheir own passivity. Peter Brook

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28

Park, Ho-Young. "Boundary between Stanislavsky's and Chekhov's Acting Method." Journal of the Korea Contents Association 9, no. 10 (2009): 168–75. http://dx.doi.org/10.5392/jkca.2009.9.10.168.

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29

Park, Ho-Young. "1960's Acting Method of Experimental Theater." Journal of the Korea Contents Association 9, no. 11 (2009): 184–91. http://dx.doi.org/10.5392/jkca.2009.9.11.184.

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30

Pugh, James, Bree Patrick Luck, and Edward W. L. Smith. "Method Acting and Gestalt Therapy with Couples." Journal of Couples Therapy 10, no. 2 (2001): 107–14. http://dx.doi.org/10.1300/j036v10n02_10.

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31

Stein, Marc. "Queer London, Method Acting, and Time Travel." English Language Notes 45, no. 2 (2007): 179–81. http://dx.doi.org/10.1215/00138282-45.2.179.

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32

Hagendoorn, Ivar. "Cognitive Dance Improvisation: How Study of the Motor System Can Inspire Dance (and Vice Versa)." Leonardo 36, no. 3 (2003): 221–28. http://dx.doi.org/10.1162/002409403321921442.

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This paper describes several dance improvisation techniques inspired by the study of the motor system. One technique takes experiments on interlimb coordination from the laboratory to the dance studio. Another technique, termed fixed-point technique, makes use of the fact that one can change which part of the body is fixed in space. A third technique is based on the idea that one can maintain the action, as it were, by “reversing the acting limb.” All techniques target a specific capacity of the motor system and as such may inspire new psychophysical experiments. The present approach to genera

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33

Shin, Hyun-Joo. "Jack Nicholson's Method of Acting and Expression of Acting - Focusing on Stanley Kubrick's Film [Shining] -." Journal of acting studies 19 (August 30, 2020): 63–77. http://dx.doi.org/10.26764/jaa.2020.19.5.

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34

Cantrell, Tom. "‘In the doc’: Acting Processes in Brian Hill's Docudrama, Consent." Journal of British Cinema and Television 13, no. 3 (2016): 351–67. http://dx.doi.org/10.3366/jbctv.2016.0324.

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This article explores Brian Hill's award-winning docudrama, Consent, from the point of view of the actor. Consideration of actors’ processes has remained conspicuously absent in analyses of docudrama or documentary television. To redress this balance, this article is based on new interview material with Anna Madeley, one of the two leading actors in the piece. A complex blend of fact and fiction, Consent follows a fictional rape trial from the rape itself, the reporting of the attack to the police, the victim's visit to a doctor, through to the court case, the jury's deliberations and the judg

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35

Cho, Sung-Hee. "A Study on the Effect of Introduction and Application of American Acting Method for Acting Training." Journal of the Korea Entertainment Industry Association 14, no. 7 (2020): 275–86. http://dx.doi.org/10.21184/jkeia.2020.10.14.7.275.

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36

Baider, Fabienne H. "Thinking globally, acting locally." Journal of Language Aggression and Conflict 5, no. 2 (2017): 178–204. http://dx.doi.org/10.1075/jlac.5.2.02bai.

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Abstract The aim of this study is to show how trans-national right-wing linguistic strategies and global xenophobic attitudes are reworked at national levels, and how, as a result, specialized country- and culture-specific coercion and legitimization strategies arise. Using a detailed, quantitative-qualitative method of analysis, we look at the Greek Cypriot extreme-right party ELAM to see how the party’s anti-migration rhetoric construes any foreign presence as threat, by proximizing it linguistically as ‘invasion.’ This strategy allows the conflation of the current ‘Other’ (migrants) with ar

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37

Griffin, Tim, and Rhea Anastas. "Method Acting: The Artist-Interviewer Conversation [with Response]." Art Journal 64, no. 3 (2005): 70. http://dx.doi.org/10.2307/20068402.

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38

Nakwon Song. "The Origin and Development of American Method Acting." journal of the moving image technology associon of korea 1, no. 22 (2015): 25–48. http://dx.doi.org/10.34269/mitak.2015.1.22.002.

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39

Weidmann, Richard. "The Nielsen Method For Groups Acting on Trees." Proceedings of the London Mathematical Society 85, no. 1 (2002): 93–118. http://dx.doi.org/10.1112/plms/85.1.93.

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40

Verducci, Susan. "A Moral Method? Thoughts on cultivating empathy through Method acting." Journal of Moral Education 29, no. 1 (2000): 87–99. http://dx.doi.org/10.1080/030572400102952.

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41

Wang, Jian Lu, Yan Jun Lu, Hui Ma, Yong Fang Zhang, and Yong Hui Chen. "A Method for Solving Stiffness of Finite Length Self-Acting Gas-Lubricated Journal Bearing." Advanced Materials Research 562-564 (August 2012): 643–49. http://dx.doi.org/10.4028/www.scientific.net/amr.562-564.643.

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Based on the differential transformation method, an efficient method is proposed to calculate stiffness of finite length self-acting gas-lubricated journal bearing. Time dependent Reynolds equation in gas lubrication of the self-acting journal bearing is solved, gas film pressure distribution and stiffness of the bearing are obtained. In comparison with the partial derivative method, the proposed method for solving stiffness of self-acting gas-lubricated journal bearing is verified. The proposed method can provide the theoretical reference to the dynamic design of self-acting gas-lubricated jo

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42

D'Souza, Susan, Jabar A. Faraj, Stefano Giovagnoli, and Patrick P. DeLuca. "IVIVC from Long Acting Olanzapine Microspheres." International Journal of Biomaterials 2014 (2014): 1–11. http://dx.doi.org/10.1155/2014/407065.

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In this study, four PLGA microsphere formulations of Olanzapine were characterized on the basis of theirin vitrobehavior at 37°C, using a dialysis based method, with the goal of obtaining an IVIVC.In vivoprofiles were determined by deconvolution (Nelson-Wagner method) and using fractional AUC. Thein vitroandin vivorelease profiles exhibited the same rank order of drug release. Further,in vivoprofiles obtained with both approaches were nearly superimposable, suggesting that fractional AUC could be used as an alternative to the Nelson-Wagner method. A comparison of drug release profiles for the

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43

Günaydın, Ahmet Can, Mehmet Halkacı, Fatih Ateş, and Hüseyin Selçuk Halkacı. "Experimental Research of the Usability on Double Acting Intensifiers in Hydroforming." MATEC Web of Conferences 220 (2018): 04006. http://dx.doi.org/10.1051/matecconf/201822004006.

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The hydroforming method is especially used for forming lightweight materials like aluminum, magnesium alloys, high strength steels or materials that have limited formability. Intensifiers are the most important component of hydroforming presses. Nowadays single-acting intensifiers are used in hydroforming presses. Single-acting intensifiers provide pressurized liquid by forwarding movement of the piston through one direction and their volumes are limited. The mass of the intensifiers increases significantly depending on their liquid volume capacity and this causes high manufacturing costs. For

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44

Yonghee Lee. "Engaging Uta Hagen’s Acting Method to American Drama Class." Jungang Journal of English Language and Literature 52, no. 4 (2010): 327–50. http://dx.doi.org/10.18853/jjell.2010.52.4.016.

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45

Rogers, Amanda. "Emotional Geographies of Method Acting in Asian American Theater." Annals of the Association of American Geographers 102, no. 2 (2012): 423–42. http://dx.doi.org/10.1080/00045608.2011.596390.

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46

Bernard, Caitlin, Qiuhong Zhao, and Jeffrey F. Peipert. "Dual method use among long-acting reversible contraceptive users." European Journal of Contraception & Reproductive Health Care 23, no. 2 (2018): 97–104. http://dx.doi.org/10.1080/13625187.2018.1445850.

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47

Kräutle, Serge. "A domain decomposition method using efficient interface-acting preconditioners." Mathematics of Computation 74, no. 251 (2004): 1231–57. http://dx.doi.org/10.1090/s0025-5718-04-01706-5.

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48

Richmond, Linda L., and Ron Wiener. "Acting for a Change: Using Psychodrama to Enhance Spontaneity, Connection, and Change in the Development of a Senior Improvisational Theater Group." Journal of Psychodrama, Sociometry, and Group Psychotherapy 65, no. 1 (2017): 99–109. http://dx.doi.org/10.12926/16-00006.1.

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This article describes the development of a senior improvisational theater group designed to draw on concepts and methods from psychodrama to maximize members' spontaneity and connection and provide opportunities for positive staged sociopsychodramatic interactions in the community. It describes changes that took place at various social and psychological levels because of participation in the group and presents some of the director's inspirations and insights about theater, psychology, and community outreach that emerged along the way. The group, composed of about 15 seniors, aged 60 to 90 yea

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49

PEREL, EFRAT, and URI YECHIALI. "ON CUSTOMERS ACTING AS SERVERS." Asia-Pacific Journal of Operational Research 30, no. 05 (2013): 1350019. http://dx.doi.org/10.1142/s021759591350019x.

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We consider systems comprised of two interlacing M/M/ • /• type queues, where customers of each queue are the servers of the other queue. Such systems can be found for example in file sharing programs, SETI@home project, and other applications [Arazi, A, E Ben-Jacob and U Yechiali (2005). Controlling an oscillating Jackson-type network having state-dependant service rates. Mathematical Methods of Operations Research, 62, 453–466]. Denoting by Li the number of customers in queue i(Qi), i = 1, 2, we assume that Q1 is a multi-server finite-buffer system with an overall capacity of size N, where t

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50

Thiem, Helena, Here Folkerts, and Lukas Völkel. "Short-acting antipsychotics or long-acting injectables? A treatment comparison in patients with schizophrenia." Gesundheitsökonomie & Qualitätsmanagement 25, no. 03 (2020): 170–78. http://dx.doi.org/10.1055/a-1167-6057.

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Abstract Aim This research aims to compare the efficacy and direct costs of short-acting oral antipsychotics and aripiprazole once-monthly (AOM) in the context of the treatment of patients with schizophrenia based on real-world data in Germany. Method Results are based on a single-armed, retrospective, non-interventional pre-post comparison study evaluating data from 132 patients with schizophrenia before and after switching from oral antipsychotics to AOM treatment (6 months each). Socio-demographics, as well as parameters of indication, efficacy and resource consumption were analyzed and sta

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