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Author: Vladimir Mirodan
Publisher: Routledge
ISBN: 1317527941
Category : Performing Arts
Languages : en
Pages : 320
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Book Description
Transformative acting remains the aspiration of many an emerging actor, and constitutes the achievement of some of the most acclaimed performances of our age: Daniel Day-Lewis as Lincoln, Meryl Streep as Mrs Thatcher, Anthony Hopkins as Hannibal Lecter – the list is extensive, and we all have our favourites. But what are the physical and psychological processes which enable actors to create characters so different from themselves? To understand this unique phenomenon, Vladimir Mirodan provides both a historical overview of the evolution of notions of 'character' in Western theatre and a stunning contemporary analysis of the theoretical implications of transformative acting. The Actor and the Character: Surveys the main debates surrounding the concept of dramatic character and – contrary to recent trends – explains why transformative actors conceive their characters as ‘independent’ of their own personalities. Describes some important techniques used by actors to construct their characters by physical means: work on objects, neutral and character masks, Laban movement analysis, Viewpoints, etc. Examines the psychology behind transformative acting from the perspectives of both psychoanalysis and scientific psychology and, based on recent developments in psychology, asks whether transformation is not just acting folklore but may actually entail temporary changes to the brain structures of the actors. The Actor and the Character speaks not only to academics and students studying actor training and acting theory, but contributes to current lively academic debates around character. This is a compelling and original exploration of the limits of acting theory and practice, psychology, and creative work, in which Mirodan boldly re-examines some of the fundamental assumptions of actor training and some basic tenets of theatre practice to ask: What happens when one of us ‘becomes somebody else’?
Author: Vladimir Mirodan
Publisher: Routledge
ISBN: 1317527941
Category : Performing Arts
Languages : en
Pages : 320
Get Book Here
Book Description
Transformative acting remains the aspiration of many an emerging actor, and constitutes the achievement of some of the most acclaimed performances of our age: Daniel Day-Lewis as Lincoln, Meryl Streep as Mrs Thatcher, Anthony Hopkins as Hannibal Lecter – the list is extensive, and we all have our favourites. But what are the physical and psychological processes which enable actors to create characters so different from themselves? To understand this unique phenomenon, Vladimir Mirodan provides both a historical overview of the evolution of notions of 'character' in Western theatre and a stunning contemporary analysis of the theoretical implications of transformative acting. The Actor and the Character: Surveys the main debates surrounding the concept of dramatic character and – contrary to recent trends – explains why transformative actors conceive their characters as ‘independent’ of their own personalities. Describes some important techniques used by actors to construct their characters by physical means: work on objects, neutral and character masks, Laban movement analysis, Viewpoints, etc. Examines the psychology behind transformative acting from the perspectives of both psychoanalysis and scientific psychology and, based on recent developments in psychology, asks whether transformation is not just acting folklore but may actually entail temporary changes to the brain structures of the actors. The Actor and the Character speaks not only to academics and students studying actor training and acting theory, but contributes to current lively academic debates around character. This is a compelling and original exploration of the limits of acting theory and practice, psychology, and creative work, in which Mirodan boldly re-examines some of the fundamental assumptions of actor training and some basic tenets of theatre practice to ask: What happens when one of us ‘becomes somebody else’?
Author: William B. Worthen
Publisher: Princeton University Press
ISBN: 1400857538
Category : Performing Arts
Languages : en
Pages : 281
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Book Description
Analyzing the relationship between dramatic action and the controversial art of acting, William Worthen demonstrates that what it means to act, to be an actor, and to communicate through acting embodies both an ethics of acting and a poetics of drama. Originally published in 1984. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Author: Bill Howey
Publisher: Compass Publishing
ISBN: 0975310224
Category : Juvenile Nonfiction
Languages : en
Pages : 206
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Book Description
Whether new to the business or a seasoned professional, this handbook provides actors with a personal, active approach to discovering and developing their talent. Beginning with appetizers and ending with desserts, actors learn how to prepare a character in the same way that a master chef chooses the most complementary dishes for a feast. From typecasting to reinventing a character's story, actors discover the key ingredients that will enable them to use their own unique qualities and emotions to develop strong, believable characters that people are interested in watching. How to identify and resolve problems such as hidden agendas that can disable an actor's work; distinguish between perception, feeling, and emotions; and find lasting sources of inspiration are among the issues explored. The importance of imagination, words, and story as well as the difference between intellectual and visceral choices (and the impact of each) are also discussed.
Author: David Ross
Publisher: Cambridge Scholars Publishing
ISBN: 1443802611
Category : Philosophy
Languages : en
Pages : 205
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Book Description
The text is a conversation between the author and himself mediated by the text of Friedrich Nietzsche’s Thus Spoke Zarathustra. The text is a pre-text, a reading both before and after that frames the art work. What is that? Let us say, in the spirit of inquiry, that of knowing thyself. What, then, of this strange hyphenation? The present text is a pre-text because it is before the Text, the text which the author is always writing but which manifests itself, in sporadic, impulsive bursts, in the form of actual works. The book is the pre-text because it is an excuse, a rationale, a piece of pretension. The book is not about Nietzsche but what it is for someone to read Nietzsche’s text, a book for everyone and no one. How then does one read a book meant for oneself, if oneself is everyone, and not at all for oneself, if oneself is none? Or is it that the real task of reading is for the reader to read what reading is? Then again, need one distinguish between book and text? Perhaps, it is impossible to read a book such as Thus Spoke Zarathustra without invoking the text --or even sub-text – that continually slips away. If one can read a book, one cannot the text for this reason: the text is what the reader has to write through the reading. This has been my experience with Nietzsche’s text, an experience I share with my readers. The very possibility of reading invokes the need to re-write the text. Only in the space between reading and writing can the reader/re-writer hope to stand and understand the discursive grounds. Is that the play which this couplet performs? There, does not the reader enters upon the playground. Read then and play! The author's thanks go to Mr. Andrew Fuyarchuk for the fine editing job that he did. His contribution allowed further clarifications of the argument.
Author: Kelly McEvenue
Publisher: Bloomsbury Publishing
ISBN: 1474279120
Category : Performing Arts
Languages : en
Pages : 184
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Book Description
This practical book with illustrations links Alexander technique to acting, dancing and singing by the trainer of performers on The Lion King The Alexander Technique is a method of physical relaxation that reduces tension and strain throughout the body. It promotes a beneficial use of movement that is stress-free by learning to free-up the body. It teaches an individual to use their body efficiently in order to avoid damage or loss of control. Kelly McEvenue has been teaching the Alexander Technique to performers for nearly twenty years and is a world expert on the system. In this book she draws on her considerable experience and sets up a series of set-by-step warm-ups and exercises that anybody can follow. The exercises are linked to accurate anatomical drawings, showing where stress is most pronounced in the body. The Foreword is by Patsy Rodenburg, Head of Voice for the Royal National Theatre and author of Methuen titles The Right to Speak and The Actor Speaks.
Author: Nicholas Sammond
Publisher: Duke University Press
ISBN: 0822375788
Category : Performing Arts
Languages : en
Pages : 232
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Book Description
In Birth of an Industry, Nicholas Sammond describes how popular early American cartoon characters were derived from blackface minstrelsy. He charts the industrialization of animation in the early twentieth century, its representation in the cartoons themselves, and how important blackface minstrels were to that performance, standing in for the frustrations of animation workers. Cherished cartoon characters, such as Mickey Mouse and Felix the Cat, were conceived and developed using blackface minstrelsy's visual and performative conventions: these characters are not like minstrels; they are minstrels. They play out the social, cultural, political, and racial anxieties and desires that link race to the laboring body, just as live minstrel show performers did. Carefully examining how early animation helped to naturalize virulent racial formations, Sammond explores how cartoons used laughter and sentimentality to make those stereotypes seem not only less cruel, but actually pleasurable. Although the visible links between cartoon characters and the minstrel stage faded long ago, Sammond shows how important those links are to thinking about animation then and now, and about how cartoons continue to help to illuminate the central place of race in American cultural and social life.
Author: Louis E. Catron
Publisher: Waveland Press
ISBN: 1478629509
Category : Performing Arts
Languages : en
Pages : 367
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Book Description
The pursuit of excellence in theatre is well served by the latest edition of this eminently readable text by two directors with wide-ranging experience. In an engaging, conversational manner, the authors deftly combine a focus on artistic vision with a practical, organized methodology that allows beginning and established directors to bring a creative script interpretation to life for an audience.
Author: Letizia Fusini
Publisher: BRILL
ISBN: 9004423389
Category : Drama
Languages : en
Pages : 253
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Book Description
In Dionysus on the Other Shore, Letizia Fusini argues that throughout his early exile years (late 1980s-1990s), Gao Xingjian gradually moved away from Absurdist Drama to develop a dramaturgical system with tragic characteristics. Drawing on a range of contemporary theories of tragedy, this book reconfigures some of the key tropes of Gao’s post-1987 theater as varied articulations of the Dionysian sparagmos mechanism. They are the dismemberment of the dramatic self, the usage of constricted spaces, the divisive nature of gender relations, and the agony of verbal language. Through a text-based analysis of seven plays, the author ultimately aims to show that in Gao’s theater, tragedy is an ongoing and mostly subtextual dynamism generated by an interplay of psychic forces concurrently cohesive and divisive.
Author: Joelle Ré Arp-Dunham
Publisher: Taylor & Francis
ISBN: 1003805833
Category : Performing Arts
Languages : en
Pages : 196
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Book Description
Stanislavsky and Intimacy is the first academic edited book with a focus on how intimacy protocols, choreography, and theories intersect with the broad practices of Konstantin Stanislavsky’s ‘system’. As the basis for most Western theatre and film acting, Stanislavsky’s system centers on truthful performances. Intimacy direction and choreography insists on not only a culture of consent, but also specific, repeatable choreography for all staged intimate moments. These two practices have often been placed as diametric opposites, but this book seeks to dispel this argument. Each chapter discusses specific Stanislavskian principles and practices as they relate to staged sexually intimate moments, also opening the conversation to the broader themes and practices of other kinds of intimacy within the acting field. Stanislavsky And... is a series of multi-perspectival collections that bring the enduring legacy of Stanislavskian actor training into the spotlight of contemporary performance culture, making them ideal for students, teachers, and scholars of acting, actor training, and directing.
Author: Daniel Meyer-Dinkgräfe
Publisher: A&C Black
ISBN: 1441103813
Category : Performing Arts
Languages : en
Pages : 234
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Book Description
For centuries the theatre has been one of the major forms of art. How did acting, and its institutionalization in the theatre, begin in the first place? In some cultures complex stories relate the origin of acting and the theatre. And over time, approaches to acting have changed considerably. In the West, until the end of the 19th century, those changes occurred within the realm of acting itself, focusing on the question of whether acting should be 'natural' or 'formal.' Approaches to acting were closely related to the trends in culture at large. Acting became more and more professional and sophisticated as philosophical theories developed and knowledge in the human sciences increased. In the 20th century, the director was established as the most important force in the theater--able to lead actors to pinnacles of their art which they could not have achieved on their own. Approaches to acting in non-Western cultures follow quite different patterns. This book provides a clear overview of different approaches to acting, both historical and contemporary, Western and non-Western, and concludes with a challenge to the future of the art.
