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Journal articles on the topic 'Tragic actress'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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1

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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2

Brown, Pamela Allen. "Anatomy of an Actress: Bel-imperia as Tragic Diva." Shakespeare Bulletin 33, no. 1 (2015): 49–65. http://dx.doi.org/10.1353/shb.2015.0004.

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Rant, Tjaša. "A Slovenian Actress of Russian Origin – Maria Nablotskaya." Monitor ISH 17, no. 1 (2015): 79–101. http://dx.doi.org/10.33700/1580-7118.17.1.79-101(2015).

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Russian actress Maria Nikolaevna Borislavska, better known as Maria Nablotskaya, was carried by love and an emigration wave to Ljubljana in 1922, where she became a member of Ljubljana’s Drama Theatre after her very first performance. With the help of her second husband, actor and director Boris Putyata, she transferred the knowledge acquired in Russian imperial theatres to the Slovenian territory, where she further developed her talent. Her acting was modern and direct, and her most outstanding roles were those of psychologically realistic tragic and tragicomic female characters. Her humorous

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4

Stokes, John. "‘Lion Griefs’: the Wild Animal Act as Theatre." New Theatre Quarterly 20, no. 2 (2004): 138–54. http://dx.doi.org/10.1017/s0266464x04000041.

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This essay is concerned with the history of wild animal training between the early nineteenth and the mid-twentieth centuries, specifically with circus acts involving ‘big cats’. The author, John Stokes, is sympathetic to the view that such performances are inhumane, degrading to animal and human alike, but rather than simply rehearsing familiar attitudes, he subjects the ‘big cat’ act to a performance analysis based on established criteria, in the belief that, if performance theory is to have the widespread application that its advocates claim, then it should be able to elucidate many differe

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5

Nipe, Christine. "Mrs. Siddons' Currency." Theatre Survey 40, no. 2 (1999): 71–77. http://dx.doi.org/10.1017/s0040557400003562.

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“At last, Hollywood publicists and their high-profile clients have a chance to pay homage to their patron saint, Sarah Siddons,” claimed the August 17–23 issue of The Hollywood Reporter in its story on the concurrent exhibits of portraits of Sarah Siddons this summer at the J. Paul Getty Museum and he Huntington Art Collection (27 July-19 September). Also characterizing Siddons as calculating media mogul, the Los Angeles Times of July 25 compared the fame of the historical tragic actress (1755–1831) to that of current stars like Madonna, O.J., Diana, and even Monica. England's highly respectab

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6

Jervis, Simon Swynfen. "Anniversary Address 2001." Antiquaries Journal 81 (September 2001): 1–14. http://dx.doi.org/10.1017/s0003581500072127.

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Long Presidential tenure can go to the head, and sitting on this Chair your President has sometimes wondered how he may appear to Fellows and guests. The extreme images are Laurence Olivier as Richard III, writhing malevolently and misshapenly on his throne, and Reynolds's ‘Mrs Siddons as the Tragic Muse’, shown at the Royal Academy in 1784 and now in Dulwich College Art Gallery, in which the actress has adopted an imposing, even monumental, Michelangelesque pose, which she claimed to have invented. But I am fairly certain that these theatric tableaux are not true to life, and that the reality

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Salvato, Nick. "A HORSE'S HUSBAND: DAVID GREENSPAN'S QUEER TEMPORALITIES AND THE POLITICS OF SAME-SEX MARRIAGE." Theatre Survey 52, no. 1 (2011): 7–28. http://dx.doi.org/10.1017/s0040557411000044.

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Near the end of his solo pieceThe Myopia, an epic burlesque of tragic proportion, prominent playwright and performer David Greenspan presents a pair of scenes in which he investigates, from a queer perspective, the question of time in the theatre. In the spirit ofThe Myopia's own temporally disruptive mechanics, I will describe the second scene first: an Orator and his Doppelganger, who “bears a striking resemblance to the actress Carol Channing,” have a conversation in which they explain to the audience that the overlong fourth act, in whose stead they appear, has been cut from the play. The

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8

Mudrák, József. "Benedek László ideggyógyász-professzor, a debreceni m. kir. Tisza István-Tudományegyetem 1935–36. tanévi rector magnificusa." Gerundium 9, no. 3 (2019): 3–10. http://dx.doi.org/10.29116/gerundium/2018/3/1.

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László Benedek Professor of the Neurology, the Rector Magnificus of the Hungarian Royal István Tisza University of Debrecen during the academic year 1935/1936. The first professor of neurology and psychiatry and the director of the Department of Neurology of the University of Debrecen between 1921 and 1936 was László Benedek who studied at Cluj as a student of Károly Lechner. In the academic year of 1935/36 he held the post of the Rector of the university. This period was the era of silent development in the life of the university. Benedek as Rector focused on improving the living circumstance

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9

Horelova, V. S. "The Kharkiv actresses Polina Kumanchenko and Lidiya Krynytska in the image of a mother in the films “Human’s blood is not water”, “Dmytro Horytsvit”, “People don’t know the all” and “Lymerivna”." Aspects of Historical Musicology 17, no. 17 (2019): 130–47. http://dx.doi.org/10.34064/khnum2-17.09.

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Background. Domestic cultural space is in urgent need of selfpreservation, and a renaissance of national self-identity of the Ukrainian cinema is connected with the state interest in this topic. There are the discussions around the attempts to revive the Ukrainian poetic cinema with its inherent mythological outlook erasing the boundaries between imaginary and real. It is logical, that the further development and studying of national cinema is impossible without revise of creative work of actors of the past; they were the bearers of poetic worldview, guided by folk traditions and customs. The

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10

Devlin, Diana, Michael R. Booth, John Stokes, and Susan Basnett. "Three Tragic Actresses: Siddons, Rachel, Ristori." Modern Language Review 93, no. 2 (1998): 492. http://dx.doi.org/10.2307/3735390.

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11

Rudmann, Darrell S., Jason S. McCarley, and Arthur F. Kramer. "Bimodal Displays Improve Speech Comprehension in Environments with Multiple Speakers." Human Factors: The Journal of the Human Factors and Ergonomics Society 45, no. 2 (2003): 329–36. http://dx.doi.org/10.1518/hfes.45.2.329.27237.

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Attending to a single voice when multiple voices are present is a challenging but common occurrence. An experiment was conducted to determine (a) whether presenting a video display of the target speaker aided speech comprehension in an environment with competing voices, and (b) whether the “ventriloquism effect” could be used to enhance comprehension, as found by Driver (1996), using ecologically valid stimuli. Participants listened for target words from videos of an actress reading while simultaneously ignoring the voices of 2 to 4 different actresses. Target-word detection declined as partic

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12

Russell, Anne. "Three Tragic Actresses: Siddons, Rachel, Ristori by Michael R. Booth, John Stokes, and Susan Bassnett." Comparative Drama 32, no. 2 (1998): 322–26. http://dx.doi.org/10.1353/cdr.1998.0010.

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13

Nussbaum, Felicity A. "The Unaccountable Pleasure of Eighteenth-Century Tragedy." Publications of the Modern Language Association of America 129, no. 4 (2014): 688–707. http://dx.doi.org/10.1632/pmla.2014.129.4.688.

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Scholars have been quick to dismiss Georgian tragedy as mere rant and have thus failed to examine why tragic plays were regularly staged in the eighteenth century. This essay explores the “unaccountable pleasure,” in David Hume's words, that spectators of the genre experienced. Hume compared the feeling of witnessing a tragedy to the sweet misery of watching high-stakes gamblers risk their fortunes. Part of the attraction derived from star actresses who performed the mixed genre of tragedy topped off with a comic epilogue in plays such as Edward Moore's The Gamester, George Lillo's The London

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14

BARAN, PAULINA, MARIUSZ KREJ, MARCIN PIOTROWSKI, and ŁUKASZ DZIUDA. "TECHNICAL PROPERTIES AND RESEARCH CAPABILITIES OF THE TRUCK SIMULATOR OWNED BY THE MILITARY INSTITUTE OF AVIATION MEDICINE – A NEW PERSPECTIVE IN RESEARCH ON TRUCK DRIVERS." Polish Journal of Aviation Medicine, Bioengineering and Psychology 25, no. 3 (2021): 26–31. http://dx.doi.org/10.13174/pjambp.19.05.2021.04.

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Abstract: This paper is aimed at presenting basic technical properties and possibilities of using the truck simulator owned by the Military Institute of Aviation Medicine (MIAM). The truck driving simulator is a stationary device, equipped with a six degrees of freedom (6 DoF|) motion system and reproducing the functionality of a truck on the basis of the Mercedes Benz Actros cabin. It is intended for conducting research as well as training truck drivers in simulated traffic conditions.

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15

Aston, Elaine. "Michael R. Booth, John Stokes, and Susan Bassnett Three Tragic Actresses: Siddons, Rachel, RistoriCambridge University Press, 1996. 200p. £30.00. ISBN 0-521-41115-7." New Theatre Quarterly 14, no. 54 (1998): 186–87. http://dx.doi.org/10.1017/s0266464x00012021.

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16

Kalenichenko, O. M. "Interpretation of Gogol’s works on the puppet theater stage (based on the spectacle by Oksana Dmitrieva «May night, or Moonlight Witchcraft»)." Aspects of Historical Musicology 17, no. 17 (2019): 148–62. http://dx.doi.org/10.34064/khnum2-17.10.

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Background. M. Gogol’s «Evenings on a Farm Near Dikanka» often attract the attention of theater directors. Thus, in June 2009, the premiere of the play «May night, or Moonlight Witchcraft» directed by Oksana Dmitrieva, took place at the Kharkov Puppet Theater. Trying to reveal the genre nature of the production, theater critics give it such definitions as a fairy tale, musical, fantasy, ethno-folk show, liturgy, mystery play, as well as analyze individual finds of a young director, but the complete picture of the artistic features of this performance is absent yet. In this regard, the purpose

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17

Dinoi, Adelaide, Marianna Conte, Fabio M. Grasso, and Daniele Contini. "Long-Term Characterization of Submicron Atmospheric Particles in an Urban Background Site in Southern Italy." Atmosphere 11, no. 4 (2020): 334. http://dx.doi.org/10.3390/atmos11040334.

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Continuous measurements of particle number size distributions in the size range from 10 nm to 800 nm were performed from 2015 to 2019 at the ECO Environmental-Climate Observatory of Lecce (Global Atmosphere Watch Programme/Aerosol, Clouds and Trace Gases Research Infrastructure (GAW/ACTRIS) regional station). The main objectives of this work were to investigate the daily, weekly and seasonal trends of particle number concentrations and their dependence on meteorological parameters gathering information on potential sources. The highest total number concentrations were observed during autumn-wi

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18

Cristofanelli, Paolo, Jgor Arduini, Francescopiero Calzolari, Umberto Giostra, Paolo Bonasoni, and Michela Maione. "First Evidences of Methyl Chloride (CH3Cl) Transport from the Northern Italy Boundary Layer during Summer 2017." Atmosphere 11, no. 3 (2020): 238. http://dx.doi.org/10.3390/atmos11030238.

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Methyl Chloride (CH3Cl) is a chlorine-containing trace gas in the atmosphere contributing significantly to stratospheric ozone depletion. While the atmospheric CH3Cl emissions are predominantly caused by natural sources on the global budget, significant uncertainties still remain for the anthropogenic CH3Cl emission strengths. In summer 2007 an intensive field campaign within the ACTRIS-2 Project was hosted at the Mt. Cimone World Meteorological Organization/Global Atmosphere Watch global station (CMN, 44.17° N, 10.68° E, 2165 m a.s.l.). High-frequency and high precision in situ measurements o

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19

Schlag, P., A. Kiendler-Scharr, M. J. Blom, et al. "Aerosol source apportionment from 1 year measurements at the CESAR tower at Cabauw, NL." Atmospheric Chemistry and Physics Discussions 15, no. 23 (2015): 35117–55. http://dx.doi.org/10.5194/acpd-15-35117-2015.

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Abstract. Intensive measurements of submicron aerosol particles and their chemical composition were performed with an Aerosol Chemical Speciation Monitor (ACSM) at the Cabauw Experimental Site for Atmospheric Research (CESAR) in Cabauw, NL. The campaign lasted nearly one year from July 2012 to June 2013 as part of the ACTRIS project. Including black carbon data an average particulate mass concentration of 9.50 μg m−3 was obtained during the whole campaign with dominant contributions from ammonium nitrate (45 %), organic aerosol (OA, 29 %), and ammonium sulfate (19 %). 12 exceedances of the Wor

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20

Schlag, Patrick, Astrid Kiendler-Scharr, Marcus Johannes Blom, et al. "Aerosol source apportionment from 1-year measurements at the CESAR tower in Cabauw, the Netherlands." Atmospheric Chemistry and Physics 16, no. 14 (2016): 8831–47. http://dx.doi.org/10.5194/acp-16-8831-2016.

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Abstract. Intensive measurements of submicron aerosol particles and their chemical composition were performed with an Aerosol Chemical Speciation Monitor (ACSM) at the Cabauw Experimental Site for Atmospheric Research (CESAR) in Cabauw, the Netherlands, sampling at 5 m height above ground. The campaign lasted nearly 1 year from July 2012 to June 2013 as part of the EU-FP7-ACTRIS project (Q-ACSM Network). Including equivalent black carbon an average particulate mass concentration of 9.50 µg m−3 was obtained during the whole campaign with dominant contributions from ammonium nitrate (45 %), orga

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21

Kordovska, P. A. "Italian singer Daisy Lumini as an interpreter of the post-avant-garde music." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 253–66. http://dx.doi.org/10.34064/khnum1-56.16.

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Introduction. In the music of the late twentieth century the realization of the creative potential of performers is rarely limited with the framework of direction which was chosen in the beginning of career. The field of the academic music may be too narrow for the artist, but this does not mean a definitive departure from this area. The life and performances of Italian singer, actress and composer Daisy Lumini (1936–1993) could be considered as one of the examples of the twentieth century “variability” of the artist’s way. She developed from a graduate of the Conservatory to a pop star and a

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22

Holloway, Ron. "Hideko Takamine." Kinema: A Journal for Film and Audiovisual Media, April 10, 1994. http://dx.doi.org/10.15353/kinema.vi.760.

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AT SEVENTY, she's Japan's greatest living actress, often compared to Mary Pickford, but more like a Katherine Hepburn for the range of her talent and commanding presence of the screen -- Hideko Takamine. Despite being recognized as a screen immortal in Japan, only a handful of her more than three hundred film appearances are known in the United States, due to the tragic destruction of the Japanese film archives during the war. Thus she's known in the West mostly by her postwar films, made during that last great period of Japanese cinema of the 1950s and early 1960s, after which television was

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23

Garnier, Emmanuelle. "El «espíritu de lo grotesco» en el teatro de Angélica Liddell." Signa: Revista de la Asociación Española de Semiótica 21 (January 1, 2012). http://dx.doi.org/10.5944/signa.vol21.2012.6302.

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El teatro de la dramaturga, directora y actriz Angélica Liddell, por su estética neobarroca hecha de contrastes, paradojas y fusión de géneros (aproximación de lo grave y lo ligero, lo sagrado y lo profano, del amor y del asco, de lo festivo y lo trágico…), por las figuras grotescas que convoca, específicamente en lo que al tratamiento del espacio, del cuerpo y del lenguaje se refiere, recoge el espíritu de lo grotesco para construir el camino de la necesaria subversión artística.The theatrical aesthetics of the playwright, stage director and actress Angélica Liddell are made of contrasts, par

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24

"Three tragic actresses: Siddons, Rachel, Ristori." Choice Reviews Online 34, no. 09 (1997): 34–5000. http://dx.doi.org/10.5860/choice.34-5000.

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25

Lindop, Samantha Jane. "Carmilla, Camilla: The Influence of the Gothic on David Lynch's Mulholland Drive." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.844.

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It is widely acknowledged among film scholars that Lynch’s 2001 neo-noir Mulholland Drive is richly infused with intertextual references and homages — most notably to Charles Vidor’s Gilda (1946), Billy Wilder’s Sunset Boulevard (1950), Alfred Hitchcock’s Vertigo (1958), and Ingmar Bergman’s Persona (1966). What is less recognised is the extent to which J. Sheridan Le Fanu’s 1872 Gothic novella Carmilla has also influenced Mulholland Drive. This article focuses on the dynamics of the relationship between Carmilla and Mulholland Drive, particularly the formation of femme fatale Camilla Rhodes (

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26

Starrs, D. Bruno. "Enabling the Auteurial Voice in Dance Me to My Song." M/C Journal 11, no. 3 (2008). http://dx.doi.org/10.5204/mcj.49.

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Despite numerous critics describing him as an auteur (i.e. a film-maker who ‘does’ everything and fulfils every production role [Bordwell and Thompson 37] and/or with a signature “world-view” detectable in his/her work [Caughie 10]), Rolf de Heer appears to have declined primary authorship of Dance Me to My Song (1997), his seventh in an oeuvre of twelve feature films. Indeed, the opening credits do not mention his name at all: it is only with the closing credits that the audience learns de Heer has directed the film. Rather, as the film commences, the viewer is informed by the titles that it

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27

McNicol, Emma Jane Brosnan. "Gendered Violence as Revelation in John le Carré’s The Night Manager." M/C Journal 23, no. 4 (2020). http://dx.doi.org/10.5204/mcj.1665.

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Susanne Bier and David Farr’s 2016 television adaptation of John le Carré’s novel The Night Manager (“Manager”) indexes the resilience of traditional Christian misogyny in contemporary British-American media. In the first episode of the series, Sophie (Aure Atika)’s partner Freddie Hamid (David Avery) brutally beats her. In the subsequent scene, despite her scars, Sophie has a sex scene with the eponymous night manager Pine (Tom Hiddlestone). Sophie’s eye socket and the left side of her face bear fresh bruises and wounds throughout the sex scene. And in the sixth and final episode, Pine and Je

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28

Sexton-Finck, Larissa. "Violence Reframed: Constructing Subjugated Individuals as Agents, Not Images, through Screen Narratives." M/C Journal 23, no. 2 (2020). http://dx.doi.org/10.5204/mcj.1623.

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What creative techniques of resistance are available to a female filmmaker when she is the victim of a violent event and filmed at her most vulnerable? This article uses an autoethnographic lens to discuss my experience of a serious car crash my family and I were inadvertently involved in due to police negligence and a criminal act. Employing Creative Analytical Practice (CAP) ethnography, a reflexive form of research which recognises that the creative process, producer and product are “deeply intertwined” (Richardson, “Writing: A Method” 930), I investigate how the crash’s violent affects cri

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29

Barnes, Duncan, Danielle Fusco, and Lelia Green. "Developing a Taste for Coffee: Bangladesh, Nescafé, and Australian Student Photographers." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.471.

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IntroductionThis article is about the transformation of coffee, from having no place in the everyday lives of the people of Bangladesh, to a new position as a harbinger of liberal values and Western culture. The context is a group of Australian photojournalism students who embarked on a month-long residency in Bangladesh; the content is a Nescafé advertisement encouraging the young, middle-class Bangladesh audience to consume coffee, in a marketing campaign that promotes “my first cup.” For the Australian students, the marketing positioning of this advertising campaign transformed instant coff

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30

Verma, Rabindra Kumar. "Book Review." East European Journal of Psycholinguistics 7, no. 1 (2020). http://dx.doi.org/10.29038/eejpl.2020.7.1.kum.

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Susheel Kumar Sharma’s Unwinding Self: A Collection of Poems. Cuttack: Vishvanatha Kaviraj Institute, 2020, ISBN: 978-81-943450-3-9, Paperback, pp. viii + 152. Like his earlier collection, The Door is Half Open, Susheel Kumar Sharma’s Unwinding Self: A Collection of Poems has three sections consisting of forty-two poems of varied length and style, a detailed Glossary mainly on the proper nouns from Indian culture and tradition and seven Afterwords from the pens of the trained readers from different countries of four continents. The structure of the book is circular. The first poem “Snaps

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