Dissertations / Theses: 'Acting'

1

Johnston, Daniel Waycott. "Active Metaphysics: Acting as Manual Philosophy or Phenomenological Interpretations of Acting Theory." University of Sydney, 2008. http://hdl.handle.net/2123/3984.

Full text

Abstract:

PhD
This thesis considers actors as ‘manual philosophers’; it engages the proposition that acting can reveal aspects of existence and Being. In this sense, forms of acting that analyse and engage with lived experience of the world offer a phenomenological approach to the problem of Being. But rather than arrive at abstract, general conclusions about the human subject’s relationship to the world, at least some approaches to acting investigate the structures of experience through those experiences themselves in a lived, physical way. I begin with the troubled relationship between philosophy and theatre and briefly consider the history of attacks on actors. I suggest that at the heart of antitheatricality is what Jonas Barish (1981: 3) calls ‘ontological queasiness’: theatre poses a problem in the distinction between ‘what is’ and ‘what is not’. Turning to phenomenology as a particular way of doing philosophy that challenges any dualistic understanding of subjectivity, I reflect on Martin Heidegger’s Being and Time as a lens for viewing the process of performing and preparing for a role. Heidegger emphasises the intermeshed relationship between the human subject, Dasein (Being-there), and the world to the point that it is impossible to consider one without the other. I have chosen three of the most influential theatre and acting theorists of the twentieth century and examine how each uncovers aspects of existence that are presented in Heidegger’s phenomenology. Firstly, I consider Constantin Stanislavski’s ‘system’ which emphasises action for a purpose within an environment, the individual’s relationship to objects in the world and its involvement with other people who share the same type of Being in the world. Secondly, I examine Antonin Artaud’s conception of theatre that seeks to resist the structures of Being, the way the world is interpreted by others (the ‘They’) and the way that the world gets handed over to consciousness for the most part. In many respects, Artaud’s theatre is the embodiment of Anxiety, a world-revealing state where Being becomes apparent. Thirdly, I discuss Bertolt Brecht’s theatre practice as an attestation to authenticity (a truthful engagement with human existence as possibility) through the medium of performance. Brecht seeks to engage audiences in philosophical debate and change the world. Like Heidegger, Brecht also stresses the historical and temporal constitution of the human subject, whilst emphasising practicality in theatre making. By examining these approaches to performance as case studies, this thesis rethinks the notional intersection of philosophy and theatre, concentrating on process rather than literary analysis. This application of phenomenology is new in that it does not merely consider theatre analysis from an ‘ideal’ audience point of view (i.e. provide a phenomenology of theatre). By focusing on acting, I emphasise the development of artistic creation and becoming, and show how certain types of acting are phenomenological. The bold upshot here is a conception of philosophy that acknowledges various theatre practices as embodied forms of philosophical practice. Furthermore, theatre might well be thought of as phenomenological because it can be an investigation of Being firmly entrenched in practical action and performance. Conversely, philosophy is more than just words on a page; it is a performed activity. Actors can be considered manual philosophers in so far as they engage with the problem of Being not in mere abstraction but in the practical challenges of performance.

APA, Harvard, Vancouver, ISO, and other styles

2

Johnston, Daniel Waycott. "Active Metaphysics: Acting as Manual Philosophy or Phenomenological Interpretations of Acting Theory." Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/3984.

Full text

Abstract:

This thesis considers actors as ‘manual philosophers’; it engages the proposition that acting can reveal aspects of existence and Being. In this sense, forms of acting that analyse and engage with lived experience of the world offer a phenomenological approach to the problem of Being. But rather than arrive at abstract, general conclusions about the human subject’s relationship to the world, at least some approaches to acting investigate the structures of experience through those experiences themselves in a lived, physical way. I begin with the troubled relationship between philosophy and theatre and briefly consider the history of attacks on actors. I suggest that at the heart of antitheatricality is what Jonas Barish (1981: 3) calls ‘ontological queasiness’: theatre poses a problem in the distinction between ‘what is’ and ‘what is not’. Turning to phenomenology as a particular way of doing philosophy that challenges any dualistic understanding of subjectivity, I reflect on Martin Heidegger’s Being and Time as a lens for viewing the process of performing and preparing for a role. Heidegger emphasises the intermeshed relationship between the human subject, Dasein (Being-there), and the world to the point that it is impossible to consider one without the other. I have chosen three of the most influential theatre and acting theorists of the twentieth century and examine how each uncovers aspects of existence that are presented in Heidegger’s phenomenology. Firstly, I consider Constantin Stanislavski’s ‘system’ which emphasises action for a purpose within an environment, the individual’s relationship to objects in the world and its involvement with other people who share the same type of Being in the world. Secondly, I examine Antonin Artaud’s conception of theatre that seeks to resist the structures of Being, the way the world is interpreted by others (the ‘They’) and the way that the world gets handed over to consciousness for the most part. In many respects, Artaud’s theatre is the embodiment of Anxiety, a world-revealing state where Being becomes apparent. Thirdly, I discuss Bertolt Brecht’s theatre practice as an attestation to authenticity (a truthful engagement with human existence as possibility) through the medium of performance. Brecht seeks to engage audiences in philosophical debate and change the world. Like Heidegger, Brecht also stresses the historical and temporal constitution of the human subject, whilst emphasising practicality in theatre making. By examining these approaches to performance as case studies, this thesis rethinks the notional intersection of philosophy and theatre, concentrating on process rather than literary analysis. This application of phenomenology is new in that it does not merely consider theatre analysis from an ‘ideal’ audience point of view (i.e. provide a phenomenology of theatre). By focusing on acting, I emphasise the development of artistic creation and becoming, and show how certain types of acting are phenomenological. The bold upshot here is a conception of philosophy that acknowledges various theatre practices as embodied forms of philosophical practice. Furthermore, theatre might well be thought of as phenomenological because it can be an investigation of Being firmly entrenched in practical action and performance. Conversely, philosophy is more than just words on a page; it is a performed activity. Actors can be considered manual philosophers in so far as they engage with the problem of Being not in mere abstraction but in the practical challenges of performance.

APA, Harvard, Vancouver, ISO, and other styles

3

Johnston, Daniel Waycott. "Active metaphysics acting as manual philosophy or phenomenological interpretations of acting theory /." Connect to full text, 2007. http://hdl.handle.net/2123/3984.

Full text

Abstract:

Thesis (Ph. D.)--University of Sydney, 2008.
Title from title screen (viewed January 21, 2009) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Faculty of Arts, Dept. of Performing Studies. Degree awarded 2008; thesis submitted 2007. Includes bibliography. Also available in print format.

APA, Harvard, Vancouver, ISO, and other styles

4

Stokes, Kristoffer H. "Play acting." [Gainesville, Fla.]: University of Florida, 2003. http://purl.fcla.edu/fcla/etd/UFE0000798.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Souza, Dawn. "Acting Mindfully." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5340.

Full text

Abstract:

Acting Mindfully, is a form of embodiment pedagogy that investigates the ways in which actors can explore their craft through a lens that connects them closer to their mind, body, and voice. The document draws content from a wide variety of theatrical movement and vocal practitioners in combination with mindfulness techniques including yoga, meditation, and energy work. Embodiment pedagogy allows the acting student to approach and perform scenes and monologues with truth and authenticity; while allowing them the ability to tell their own stories. In order to explore this work, a course, Acting and Mindfulness, was introduced at Virginia Commonwealth University as an experimental way to begin to connect students to their artistic work in a mindful way. This document includes research, as well as a mindful acting curriculum, that make connections to embodiment pedagogy.

APA, Harvard, Vancouver, ISO, and other styles

6

Henney, Pamela Ann. "Acting the Author: Using Acting Techniques in Teaching Academic Writing." University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1342799222.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Björklund, Niklas. "Acting in animation." Thesis, University of Gävle, Ämnesavdelningen för datavetenskap, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-4698.

Full text

Abstract:

It is important to remember actors and animators are similar in many respects, but also very different in some. They both frame and provide life to a character, through thoughts and feelings. To obtain a better understanding of how professional animators work and what methods they use, this thesis contains general background information on animation and the Principles in Animation, as well as the analysis of acting and the different acting concepts. By studying these methods and utilizing them in my own work, a short animation was developed to visualize a characters personality through his actions. The result was then applied to a questionnaire to determine if the audience could pick out the characters personality only through the animation without dialog, music, or sound. According to the interviewed audience, they could feel some of the characters emotions and pick out some of the inner thoughts and feelings from the animation.

APA, Harvard, Vancouver, ISO, and other styles

8

Raloff, Anke. "Acting in concert." Jena JWV, Jenaer Wiss. Verl.-Ges, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=3010824&prov=M&dok_var=1&dok_ext=htm.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Granke, Daniel. "Decoding Acting Vocabulary." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3110.

Full text

Abstract:

This paper compares seemingly similar words from a variety of acting teachers, and shows how it is impossible to draw clear comparisons between words that are often used as synonyms. The paper is a reflection of the journey from believing in translation to recognizing its impossibility. In Chapter 1 we focus on one of the most common elements in actor training, Attention/focus/concentration, and analyze the shades of meaning in those words and the difficulty of talking about them in isolation. In Chapter 2 we look at the way in which semiotic analysis can explain the words resistance to equivalence. In Chapter 3 we look at one of the central terms in most collegiate actor training objective, and see how it reveals both the problems inherent in translation. In Chapter 4 we look at how this knowledge can influence the classroom in a positive way.

APA, Harvard, Vancouver, ISO, and other styles

10

Blomberg, Stathopoulos Alexander C. "Acting and understanding." Thesis, University of St Andrews, 2016. http://hdl.handle.net/10023/8417.

Full text

Abstract:

This thesis concerns the question of what it is for a subject to act. It answers this question in three steps. The first step is taken by arguing that any satisfactory answer must build on the idea that an action is something predicable of the acting subject. The second step is taken by arguing in support of an answer which does build on this idea, and does so by introducing the idea that acting is doing something which is an exercise of a particular kind of disposition on the part of the acting subject. The third step is taken by arguing that the disposition in question must be of a kind which is exercised in conditions in which the acting subject thinks they are acting. From this vantage point the thesis develops many further commitments: That action is constitutively subject to a mode of explanation that mentions the kind of disposition just mentioned; that any case of acting requires a veridical representation of a means by which the action is performed; and that a problem about the underspecified nature of desire ascriptions can be solved by appeal to the conceptual materials made available by these investigations. The thesis finally develops several objections to the account it gives, both substantive and methodological, and explains why these objections ought to be rejected.

APA, Harvard, Vancouver, ISO, and other styles

11

Trapletti, Michele. "Freely Acting Orbifolds." Doctoral thesis, SISSA, 2003. http://hdl.handle.net/20.500.11767/4305.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Sartori, Luisa. "Acting Social Intentions." Doctoral thesis, Università degli studi di Padova, 2009. http://hdl.handle.net/11577/3426020.

Full text

Abstract:

Are intentions – and social intention, in particular – translated into motor patterns? The present thesis provides an attempt to indagate interactive minds and the mechanisms underlying such phenomenon from a behavioural perspective, by adopting a motor control approach. Our findings suggest that prior social intentions translate into specific motor pattern and provide evidence for the existence of differences in motor patterning depending on social context and intentions (social vs. individual, communicative vs. non communicative, cooperative vs. competitive). These differences, we surmise, may be used by the observer’s motor system to discriminate between actions serving different intentions. Prejudice biases as well have proved to influence the planning control system. As we demonstrated, ‘gender-driven’ prior intentions are reflected in the kinematics. In the last series of experiment we tested the effects of sudden social requests on the online control of action. These data suggest for the first time that the exposure to a sudden social request produces reliable changes on the action on-line control system.
Le intenzioni – proprie e altrui – vengono codificate nell’atto motorio? La presente tesi costituisce un tentativo di indagare in quali modalità avvenga la traduzione delle intenzioni sociali in specifici pattern motori. Il dato emerso dai primi esperimenti è che le intenzioni sociali si riflettono direttamente nella cinematica: specifici pattern motori distinguono azioni sociali da azioni individuali e tali differenze possono essere usate da chi le osserva per discriminarle, risalendo così alle intenzioni dell’agente. Non solo, ma come abbiamo dimostrato in un successivo esperimento, cooperare con un partner che esibisce inaspettatamente l’intenzione di competere rende l’azione del soggetto molto più competitiva, e viceversa. L’intenzione del partner, quindi, modula la pianificazione e l’esecuzione delle azioni di chi vi interagisce e la cinematica del movimento è in seguito risultata sensibile anche agli stereotipi sul sesso. Scopo dell’ultima serie di studi era indagare come il sistema motorio gestisce le interazioni sociali inaspettate e implementa nuovi piani di azione per portare a termine l’esecuzione del movimento. Improvvise richieste sociali veicolate da un agente umano sembrano essere in grado di influenzare pattern motori precedentemente pianificati attraverso un monitoraggio on-line delle azioni altrui.

APA, Harvard, Vancouver, ISO, and other styles

13

Reyers, Anne. "Emotional regulation at Walt Disney World deep acting vs. surface acting." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5017.

Full text

Abstract:

The objective of this study is to examine the emotional regulation strategies used by Walt Disney World on-stage employees as a way to fulfill requirements set forth by the company. Ten Disney on-stage employees were interviewed off-property in Orlando. The emotional regulation framework was divided into several categories: (1) a distinction between deep acting and surface acting, (2) emotional deviance, and (3) emotional exhaustion. "Surface acting" is a strategy by which employees display company-imposed emotions not genuinely felt, whereas "deep acting" occurs when employees do feel the emotions that they are required to express (Hochschild, 1983). Throughout the data reduction process, five key themes surfaced as the most relevant to the initial research questions: (1) Self-Motivated Deep Acting, (2) Organizational Expectations for Surface Acting, (3) "Back-Stage" vs. "Front-Stage" Dichotomy, (4) Benefits of Emotional Training, and (5) Negative Effects of Emotional Regulation. Overall, the researcher found that a key strategy of emotional regulation that Disney employees use frequently is surface acting, although deep acting was found to be more successful. In addition, while emotional exhaustion was a common problem among employees, very few of them will actually engage in emotional deviance in order to avoid the negative consequences of surface acting. Lastly, it was found that highly skilled Walt Disney World employees will have already internalized emotional regulation training and display rules that manage emotional behavior. Therefore, it becomes less essential for the Disney Company to formally monitor its employees' facial expressions and emotional behavior in the future.
ID: 029809526; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 74-85).
M.A.
Masters
Communication
Sciences

APA, Harvard, Vancouver, ISO, and other styles

14

Jacobs, Anderson John Stephen. "Trans-acting factors and cis-acting sequences in posttranscriptional gene expression." Diss., The University of Arizona, 2000. http://hdl.handle.net/10150/284109.

Full text

Abstract:

The control of gene expression is greatly influenced by regulatory events at post-transcriptional steps. In my studies of these post-transcriptional control steps, I have utilized the tools provided by the model organism Saccharomyces cerevisiae, including genetic and molecular tools as well as the complete genome sequence. Based on genetic evidence, I hypothesized that the products of the SKI2, SKI3, and SKI8 genes were involved in a pathway of mRNA degradation that acts in the 3' to 5' direction. I demonstrated that mutations in any of the three genes lead to a stabilization of an mRNA species that degrades 3' to 5'. I further demonstrated that components of a protein complex, the exosome, were also required for 3' to 5 ' mRNA degradation. I went on to demonstrate that mutations that disrupt 3' to 5' mRNA degradation are synthetically lethal with mutations that disrupt another pathway that operates in the 5' to 3' direction. This last observation leads to two conclusions. First, these two mechanisms are likely to be the only major methods of mRNA degradation in Saccharomyces cerevisiae. Second, mRNA degradation is an essential process in this organism. I developed a computational method that uses statistical analysis of oligonucleotide frequencies to identify potential cis-acting elements. Application of my method to a group of genes allows the identification of sequences that may be involved in directing co-regulation. Unlike similar methods, my method accounts for oligonucleotide usage in the genes that are not observed to be co-regulated, ensuring that elements common to all genes will not be erroneously detected. After demonstrating that the method detected several known splicing elements in a group of genes containing introns, I went on to characterize the performance of the method under several conditions designed to simulate 'real world' experiments. Finally, I utilized the method to identify an element in a group of nuclear genes that encode mitochondrial proteins.

APA, Harvard, Vancouver, ISO, and other styles

15

Möller, Rögnvaldur G. "Groups acting on graphs." Thesis, University of Oxford, 1991. http://ora.ox.ac.uk/objects/uuid:2dacfc67-56c4-4541-b52e-10199a13dcc2.

Full text

Abstract:

In the first part of this thesis we investigate the automorphism groups of regular trees. In the second part we look at the action of the automorphism group of a locally finite graph on the ends of the graph. The two part are not directly related but trees play a fundamental role in both parts. Let T_n be the regular tree of valency n. Put G := Aut(T_n) and let G₀ be the subgroup of G that is generated by the stabilisers of points. The main results of the first part are : Theorem 4.1 Suppose 3 ≤ n < N₀ and α ϵ T_n. Then G_α (the stabiliser of α in G) contains 2^2N0 subgroups of index less than 2^2N0. Theorem 4.2 Suppose 3 ≤ n < N₀ and H ≤ G with G : H |< 2^N0. Then H = G or H = G₀ or H fixes a point or H stabilises an edge. Theorem 4.3 Let n = N₀ and H ≤ G with | G : H |< 2^N0. Then H = G or H = G₀ or there is a finite subtree ϕ of T_n such that G(_ϕ) ≤ H ≤ G{_ϕ}. These are proved by finding a concrete description of the stabilisers of points in G, using wreath products, and also by making use of methods and results of Dixon, Neumann and Thomas [Bull. Lond. Math. Soc. 18, 580-586]. It is also shown how one is able to get short proofs of three earlier results about the automorphism groups of regular trees by using the methods used to prove these theorems. In their book Groups acting on graphs, Warren Dicks and M. J. Dunwoody [Cambridge University Press, 1989] developed a powerful technique to construct trees from graphs. An end of a graph is an equivalence class of half-lines in the graph, with two half-lines, L₁ and L₂, being equivalent if and only if we can find the third half-line that contains infinitely many vertices of both L₁ and L₂. In the second part we point out how one can, by using this technique, reduce questions about ends of graphs to questions about trees. This allows us both to prove several new results and also to give simple proofs of some known results concerning fixed points of group actions on the ends of a locally finite graph (see Chapter 10). An example of a new result is the classification of locally finite graphs with infinitely many ends, whose automorphism group acts transitively on the set of ends (Theorem 11.1).

APA, Harvard, Vancouver, ISO, and other styles

16

Williams, Brittney Michelle. "PERCEPTIONS OF ACTING WHITE." Kent State University Honors College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1335723487.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Van, Zyl Yolandé. "Hoekom drama? : 'n ondersoek na enkele persepsies van drama en drama-opleiding aan die Universiteit van Stellenbosch /." Link to the Internet, 2008. http://hdl.handle.net/10019/798.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

COSTA, TATIANA DE ALMEIDA NUNES DA. "MARCELINO FREIRE ON THE SCENE: THE WRITER BETWEEN ACTION AND ACTING." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30668@1.

Full text

Abstract:

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
FUNDAÇÃO DE APOIO À PESQUISA DO ESTADO DO RIO DE JANEIRO
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
BOLSA NOTA 10
A tese se propõe a refletir sobre as múltiplas faces do escritor Marcelino Freire, considerando tanto seus escritos, em especial aqueles que não foram publicados por grandes editoras, como os projetos por ele desenvolvidos com o objetivo de repensar o cenário de produção e circulação da literatura, reconhecendo em Freire um desempenho semelhante ao de um autor-ator, pode-se assim dizer, por identificarmos em suas ações não apenas o desejo de criar obras e movimentos em torno da palavra, mas também uma insistência em recriar-se, como um sujeito imerso em um jogo cênico. A partir do lançamento de seus livros de contos Freire conseguiu projetar-se no ambiente literário, despertando o interesse tanto de leitores como da crítica. Com Angu de Sangue (2000) o escritor registrou seu modo particular de criação, a saber: uma escrita vingativa, centrada em tornar protagonistas indivíduos marginalizados que em suas atitudes desafiam o esperado, movimento levado ao extremo em Contos Negreiros (2005), vencedor do prêmio Jabuti (2006) na categoria Melhor livro de Contos e Crônicas. Nos últimos anos, o escritor tem alcançado destaque também por ser uma das vozes mais atuantes da literatura brasileira contemporânea a advogar um outro cenário para a escrita, promovendo eventos como a Balada Literária e o projeto Quebras. Um agitado cultural, assim se define Freire, fazendo referência ao seu interesse em movimentar a cena cultural e estimular tanto a entrada de novos autores como a circulação da palavra literária por inúmeros meios. Partindo desse panorama, o estudo problematiza até que ponto as práticas de Freire se colocam de forma tão ruidosa como os livros que o projetaram, ou se, pelo contrário, Freire, apesar de alardear uma renovação da cena, caminha muito próximo a um modo de fazer já existente. Assim, a tese perseguiu dois eixos centrais: perceber como o escritor se coloca diante de um ambiente aberto a novas possibilidades de produção narrativa, em especial, por conta do diálogo com as novas tecnologias da comunicação e da informação e, em paralelo, discutir a relação entre literatura e engajamento, atenta ao transitar e ao agir do escritor tanto nos circuitos tradicionais como nos alternativos. Como um escritor que se esquiva de catalogações rígidas, Marcelino Freire desliza entre a desobediência e o comedimento, entre o ativismo e a reserva, entre a exibição e a invenção, como um criador interessado em ser plural no espaço da página e também fora dela, borrando as fronteiras entre o real e o ficcional, através do gesto de publicização de sua própria pessoa.
The thesis proposes to reflect on the multiple faces of the writer Marcelino Freire, considering both his writings, especially those that were not published by major publishers, and the projects he developed with the objective of rethinking the scenario of production and circulation of Literature, Recognizing in Freire a performance similar to that of an author-actor, one can say, for identifying in his actions not only the desire to create works and movements around the word, but also an insistence on reinventing himself, as a person immersed in a scenic game. From the launching of his short story books that Freire was able to project himself into the literary environment, arousing the interest of both readers and critics. With Angu de Sangue (2000) the writer defined his particular way of creation, namely: a vindictive writing, centered on making protagonists marginalized individuals who in their attitudes defy the expected, this characteristic was pushed to the limit in Contos Negreiros (2005), winner of the Jabuti Award (2006) in the category Best Book of Tales and Chronicles. In recent years, the writer has also achieved prominence for being one of the most active voices of contemporary Brazilian literature to advocate for another scenario for writing, promoting events like the Balada Literária and the Quebras project. A cultural agitated, thus defines Freire himself, referring to his interest in moving the cultural scene, stimulating both the entry of new authors and the circulation of the literature by many means. From this perspective, this study questions the extent to which Freire s practices are as noisy as the books that designed him, or if, on the contrary, Freire, despite boasting a renewal of the scene, walks very close to an already existing modus oprerandi. Thus, the thesis pursued two central axes: to perceive how the writer places himself before an environment open to new possibilities of narrative production, especially, due to the dialogue with the new technologies of communication and information and, in parallel, to discuss the relationship between Literature and engagement, attentive to the transit and the acting of the writer in both traditional and alternative circuits. As a writer who shies away from rigid cataloging, Marcelino Freire slips between disobedience and restraint, between activism and reserve, between exhibition and invention. He wants to be plural in the world of the pages and also outside it, blurring the boundaries between the real and the fictional, through a gesture of publicity of his own person.

APA, Harvard, Vancouver, ISO, and other styles

19

Anderson, Tiffany S. "Becoming Ellen Van Oss in Lee Blessing's Two Rooms." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2122.

Full text

Abstract:

This thesis documents the process implemented in creating the character of Ellen Van Oss in Lee Blessing’s Two Rooms. It includes research, character analysis, script analysis and an evaluation of my performance. Two Rooms was produced by the UNO Department of Film and Theatre and directed by Erick Wolfe. The play was performed at the Robert E. Nims Theatre in the UNO Performing Arts Center November 7, 12, 13, 21, 2015 at 7:30pm and November 8 and 22, 2015 at 2:30pm.

APA, Harvard, Vancouver, ISO, and other styles

20

Nappi, Theodore Richard Onesimus. "Development of an acting student." Diss., Online access via UMI:, 2005.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

21

Brandtieng, Christofer. "Creating Believable Acting in Animation." Thesis, Högskolan i Gävle, Avdelningen för Industriell utveckling, IT och Samhällsbyggnad, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-12059.

Full text

Abstract:

Creating a believable acting experience with character animation is essential for animators that want to work in the animation industry. This research focus on developing guidelines for planning the animation, with the goal to ensure that every animation feel as believable and emotionally true as possible. The two animation software that are being used in this research are Autodesk Maya 2012 and Digicel Flipbook. Two animation shots are created and compared in order to analyze if a common set of guidelines can be used for every animation the animator may encounter.

APA, Harvard, Vancouver, ISO, and other styles

22

Koudela, Eva. "Groups acting on Lamda-trees." Thesis, Queen Mary, University of London, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267862.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Ellerby, Charlotte Jane. "Constantin Stanislavski : acting in opera." Thesis, University of East Anglia, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.502106.

Full text

Abstract:

Constantin Stanislavski initially trained as an opera singer before becoming an actor and director. In 1918 he was invited to give a series of lectures and workshops on the art of acting in opera at the Moscow Bolshoy Theatre, and then he directed a whole series of operas between 1922 and 1932. The opera lectures are found in a book entitled On the Art of the Stage, and one of the singers in Stanislavski's Opera Studio named Pavel Rumyantsev records Stanislavski's work on individual operas in a book entitled Stanislavski on Opera. This thesis argues that these lectures are a major contribution to our understanding of Stanislavski's training of the actor: they were given before the maj or acting texts were written or published, and they constitute a complete system called 'The System and Methods of Creative Art', formed in seven steps of a metaphorical ladder. The lectures have received little or no critical attention and this thesis is therefore unique in the light that it sheds upon the relationship between Stanislavski's systems of acting for opera and for theatre, and the historical and cultural contexts in which the lectures were given. This thesis also challenges the conventional view of Stanislavski as a naturalistic director and posits a binary model which acknowledges his work in fantasy and illusion, both in theatre and opera. Tzvetan Todorov provides a critical language with which to analyse Stanislavski' s approach to operas in the fantastic vein such as Rimsky-Korsakov's A May Night. By contrast, Stanislavski's direction of Tchaikovsky's Eugene Onegin in 1922 employed a variety of more realist styles. Finally, this thesis examines Stanislavski's contribution to the movement to create a 'synthetic theatre', at the heart of which is a collective ethos and a desire to unite the words, music and action in an organic whole.

APA, Harvard, Vancouver, ISO, and other styles

24

Astles, David Christopher. "Permutation groups acting on subsets." Thesis, University of East Anglia, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.280040.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Christian, Warren E. Stone Lynda. "Acting white, blackness, and education." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2009. http://dc.lib.unc.edu/u?/etd,2214.

Full text

Abstract:

Thesis (M.A.)--University of North Carolina at Chapel Hill, 2009.
Title from electronic title page (viewed Jun. 26, 2009). "... in partial fulfillment of the requirements for the degree of Master of Arts in the School of Education." Discipline: Education; Department/School: Education.

APA, Harvard, Vancouver, ISO, and other styles

26

Nott, Alison Catherine. "The Russian school of acting : the development and implementation of a psycho-physical acting technique." Thesis, University of Birmingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499313.

Full text

Abstract:

The Russian School of Acting was a term encountered amongst theatre-practitioners in 1990s' Moscow. Its roots lay in Stanislavsky's system with influences from Michael Chekhov and Jerzy Grotowski. In defining the phrase, this investigation follows Stanislavsky's psycho-physical technique through three practices: (1) pre-determining a production through a detailed mise-en-scene; (2) analysing the play through round the table discussions and (3) exploring the Method of Physical Actions. Chekhov's `creative individuality' and Grotowski's via negativa are also considered. The contemporary Russian School of Acting is examined through experience of actor-training at the State Institute of Cinematography in Moscow, 1993 - 1994, in terms of: (a) work on oneself, as explored through Vladimir Ananyev's Scenic Movement; (b) work in the ensemble, as explored through Katya Kamotskaya's Actor Training programme and (c) work on the role, as explored by Albert Filozov's rehearsal of playtexts. An attempt is made to apply the elements of this psycho-physical actor-training to two British repertory productions at the Swan Theatre, Worcester - The Seagull (February 1995) and Steaming (March 1996). In conclusion, an assessment is made of the relevance of the process-orientated Russian technique to the essentially result-orientated British repertory environment

APA, Harvard, Vancouver, ISO, and other styles

27

DI, PIETRO Fabio. "Cis-acting and trans-acting factors regulating gene expression during cold stress in Eschirichia coli." Doctoral thesis, Università degli Studi di Camerino, 2012. http://hdl.handle.net/11581/401789.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Hunter, Christopher P. Jr. "Scorched Earth: Unlocking the Mysteries of Shakespeare's Greatest Villain, Iago in Othello." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2696.

Full text

Abstract:

The following thesis is an in-depth actor analysis chronicling my approach to the role of Iago in TheatreUNO’s 2019 production of Othello by William Shakespeare. This thesis will include analysis of the text, character objectives, techniques used, observations about the application of contemporary realistic acting technique to classical verse text, self-evaluation and personal reflection. This thesis will be supported by production materials including a fully scored script. This play was directed by David W. Hoover, and performed April 25- May 4, 2019,as part of the TheatreUNO 2018-2019 academic season, presented by the Department of Film and Theatre in the School of the Arts, at the University of New Orleans, New Orleans, Louisiana. Scenic Design was by Kevin Griffith, Lighting design was by Diane Baas, Costume design was by Anthony French, Vocal coaching was by L. Kalo Gow, and Alexandra Marie Rainey served as the Stage Manager.

APA, Harvard, Vancouver, ISO, and other styles

29

Greer, Deborah A. "Actor training and charismatic group structure : a comparative study /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3072585.

Full text

Abstract:

Thesis (Ph. D.)--University of Oregon, 2002.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 182-188). Also available for download via the World Wide Web; free to University of Oregon users.

APA, Harvard, Vancouver, ISO, and other styles

30

Zhang, Xinxin. "Characterization of cis-acting elements of NtPMT3 and trans-acting factors of NtQPT1 in Nicotiana tabacum." NCSU, 2002. http://www.lib.ncsu.edu/theses/available/etd-20020404-142031.

Full text

Abstract:

The primary focus of this thesis is the study of the regulation of NtPMT3 and NtQPT1 gene expression. Their spatial and temporal expression has been demonstrated to be regulated coordinately. In this work, a 2.05kb of 5' flanking region of NtPMT3 has been cloned from N. tabacum. Then a series of nested 5'-deletion of the NtPMT3 promoter driving a GUS reporter gene were generated. The chimeric reporter gene constructs, as well as a 35S CaMV promoter::GUS were introduced into tobacco N. tabacum cv. D-174 using Agrobacterium-mediated leaf disc transformation. Several independent transgenic lines for each construct were regenerated. Samples of leaf, stem and root were collected from different transformants and GUS activities were quantified by fluorometric assays. These deletion analyses showed that 320 base pairs from the site of transcription initiation is sufficient to direct its root-specific expression. A negative regulatory element that suppressed expression of the reporter gene in roots is located between -2.048kb to -1.632kb 5' of the transcription initiation site. In this 417bp region, six Auxin Response Elements (AuxREs) or AuxRE-like elements were found. Auxin is known to down regulate PMT transcription and this part of sequence might play an important role in its auxin response. Sequential deletion analyses also defined three positive regulatory elements, -1631bp to -1335bp, -601bp to -318bp and -317bp to -116bp. Deletion of these regions resulted in a decrease in their GUS expression.

Previous studies of the NtQPT1 have identified a Nic gene response element located between -731bp and -1056bp from the transcription initiation site. To isolate the trans-acting factors binding to this sequence, I screened a tobacco root lambda-gt11 cDNA expression library. I obtained 5 cDNA clones encoding three different proteins that bind to the target sequence. DNA sequence of one protein (~790bp) shows high homology to N. tabacum DNA-binding protein of HMG protein family gene (ID AF002226). DNA sequence of the second protein (550bp) is about 99% identical to an A. thaliana small nuclear ribonucleoprotein-like protein gene (ID AY042797). Two cDNAs encoding the third protein are about 2.3kb. 500bp of both 3' and 5' ends were sequenced and showed high homology to a putative jasmonate inducible gene of A. thaliana (ID AY035108). The homology of 3' untranslated region indicates that the N. tabacum root expression library was contaminated by Arabidopsis thaliana cDNA.

APA, Harvard, Vancouver, ISO, and other styles

31

Murphy, Terence D. "Characterization of Cis-acting Chromosomal elements and Trans-acting factors required for chromosome inheritance in drosophila /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9824696.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Alshehri, Abdulrahman. "Generation of a long acting GCSF." Thesis, University of Sheffield, 2016. http://etheses.whiterose.ac.uk/12274/.

Full text

Abstract:

Rationale: Current therapies require daily injections of GCSF to treat patients with neutropenia and response to treatment is often unpredictable as GCSF is rapidly cleared. A number of approaches to reducing GCSF clearance have been tried mainly through conjugation with another moiety. The technologies already being employed, include PEGylation, immunoglobulins or albumin to increase the half‐life of GCSF. However, although these approaches have reduced clearance the pharmacokinetic profile of GCSF has remained unpredictable. Aim and Hypothesis: a glycosylated linker between two ligands could delay clearance with out blocking bioactivity. Methodology: GCSF tandem molecules with linkers containing between 2-8 N-linked glycosylation sites (NAT motif) and their respective controls (Q replaces N in the sequence motif NAT so there is no glycosylation) were cloned, and sequenced. Following expression in CHO cells, expressed protein was quantified by ELISA and analysed by western blot to confirm molecular weights and protein integrity. In vitro bioactivity was tested using an AML-193 proliferation assay. IMAC was used to purify the protein. Pharmacokinetic and pharmacodynamic of GCSF tandems were measured in Sprague Dawley rats. Results: Purified glycosylated tandem molecules showed increased molecular weight according to the number glycosylation of their sites when analysed by SDS-PAGE. All GCSF tandems showed increased in vitro bioactivity in comparison to rhGCSF. GCSF2NAT, GCSF4NAT and GCSF8NAT containing 2, 4 & 8 glycosylation sites respectively and GCSF8QAT displayed a three fold increased terminal half‐life compared to that published for GCSF, however there was no difference in serum half-‐life according to the level of glycosylation. Both GCSF2NAT and GCSF4NAT showed a higher increase in the percentage of neutrophils over controls at 12 hrs post injection only. In contrast, GCSF8NAT exhibited a higher increase in neutrophil levels over controls at 48 hrs. Conclusion: Using glycosylated linkers in GCSF tandems results in molecules with increased molecular weight according to the number of glycosylation sites. Tandems of GCSF have increased in vitro bioactivity compared to monomeric GCSF. Tandems with and without glycosylation had three fold greater half-lives than rhGCSF. There was evidence that GCSF8NAT was biologically active in vivo. The results confirm the hypothesis that it is possible to predictably increase the molecular weight of GCSF tandems and retain biological activity but this was not associated with a predictable prolongation of the serum half‐life.

APA, Harvard, Vancouver, ISO, and other styles

33

Woollard, Fiona. "Doing and allowing; acting and omitting." Thesis, University of Reading, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500541.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Nicholas, Karayiannis Achilleas. "Acting and performing : An organizational study." Thesis, University of Essex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.502131.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Griffiths, David John. "Mask : a release of acting resources." Thesis, University of Leeds, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.291036.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Leveroy, Deborah. "Enabling performance : dyslexia and acting practice." Thesis, University of Kent, 2013. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.655222.

Full text

Abstract:

This thesis is concerned with the lived experience of dyslexic actors. It explores the role of performance in constructing dyslexic identities, actors' relationships to written and verbal language, the ways in which this might impact on their acting process and implications for teaching practice. Research into dyslexia and acting practice is needed in light of the growing interest in cognition within the field of performance theory, the legislative framework surrounding dyslexia, implications for policy and practice and the numbers of professional actors with dyslexia. The methodology draws on a range of paradigms, namely phenomenology, embodied cognition and disability theory and adopts a mixed methods approach, in order to explore the complex nature of dyslexia and address a range of research questions. The research finds that the research participants have a different intentional relationship to language and linear sequencing. Certain training and acting experiences have given them a different experience of being in the world, creating positive dyslexic identities and body images. Disabling training approaches predicated on linear-sequencing and literacy, are the antithesis to methods which utilise non-linear, holistic and non-verbal processing. Actors manipulate the physical environment and the objects in it, to control what is otherwise a chaotic environment. A number of examples of inclusive practice and support models exist, but evidence of disabling practices remain. The research has potential policy and pedagogical implications both for actor training institutions and the industry. It also has implications for those dyslexic learners who are not professional actors, as acting may have cognitive benefits for such people and encourage positive dyslexic identities. There are broader implications relating to theatre and performance theory as a discipline, as models of neuro-diversity (such as dyslexia) can enhance current performance theory. This research may also encourage dyslexic actors not to merely survive but to thrive in the acting profession.

APA, Harvard, Vancouver, ISO, and other styles

37

Mazza, Maurício Duarte. "O acting no design de animação." Universidade Anhembi Morumbi, 2009. http://sitios.anhembi.br/tedesimplificado/handle/TEDE/1574.

Full text

Abstract:

Made available in DSpace on 2015-08-18T17:47:31Z (GMT). No. of bitstreams: 1 371491.pdf: 6394374 bytes, checksum: 3ba6694d1d0c83625d318a6017eb81aa (MD5) Previous issue date: 2009-08-31
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Esta pesquisa enfoca o acting, que é a construção da expressão de uma personagem a partir da interpretação da linguagem corporal, dos pensamentos, dos sentimentos e emoções. Portanto, esta pesquisa pretende demonstrar as características, a abrangência e a importância do acting tanto em um projeto específico como no design de animação a partir de abordagens conceituais e técnicas. Para atingir este objetivo serão apresentados estudos desenvolvidos sobre o movimento, a percepção do movimento, os princípios da animação, o acting, análise dos filmes Father and Daughter (Michael Dudock de Wit, Holanda, 2000) e Ratatouille (Brad Bird, EUA, 2007) e as relações estabelecidas entre o campo do design e o da animação.

APA, Harvard, Vancouver, ISO, and other styles

38

Bingham, Dennis. "Male spectatorship and Hollywood star acting /." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487684245465453.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Bussell, Kayla. "Acting in Opera: A Stanislavsky Approach." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/honors/52.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Twardowski, Zach. "Cosmos in chaos: the acting process." Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6317.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Rupsch, Stephen Joseph. "Sublime union : the pedagogy of ecstasy, an examination of the superconscious state in acting training /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3190504.

Full text

Abstract:

Thesis (Ph. D.)--University of Oregon, 2005.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 198-203). Also available for download via the World Wide Web; free to University of Oregon users.

APA, Harvard, Vancouver, ISO, and other styles

42

Schmidt, Larry C. "A study of discourse and acting pedagogy : how a culturally specific acting pedagogy from Russia transformed itself into the American method /." free to MU campus, to others for purchase, 2002. http://wwwlib.umi.com/cr/mo/fullcit?p3074440.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Hunter, Kerry. "Actions and antidiabetic properties of novel long-acting glucose-dependent insulinotropic polypeptide analogues." Thesis, University of Ulster, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414988.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Bester, Lelia. "Assessment of a training programme for actors to make the shifts from theatre acting to film acting." Thesis, University of Pretoria, 2019. http://hdl.handle.net/2263/75514.

Full text

Abstract:

The lack of standardised and structured training, underscored by an academic discourse on film acting, necessitates the designing of a training programme that critically engages with this notion. This study aims to contribute to film acting as a field of study by designing, teaching and assessing the efficacy of a film acting training program. The film acting programme in question addresses the shifts between acting for theatre and acting for film, based on and contributing to scholarly discourse, whilst taking various learning preferences into account. This study makes use of mixed methods to answer the main research question – How does one teach the shifts from theatre acting to film acting? The answer to this question includes defining the shifts from theatre acting to film acting and the means through which these shifts can be taught to individual actors. Four sub-aims are consequently investigated. The first sub-aim examines the performance shifts from theatre acting to film acting. The commonalities in acting in both media are defined, so that the differences may become clear. The findings of sub-aim one serves as impetus for the second sub-aim, which explores several embodied acting approaches to determine how these approaches can be applied to the teaching of the differences between acting for theatre and acting for film. Pedagogical strategies pertaining to teaching and learning are consequently studied, and the elements of these strategies are incorporated in the designing and teaching of the film acting training programme in question (sub-aim three). The final aim focuses on the efficacy of the designed programme. Feedback from the facilitator, the participating actors and a panel of experts is discussed. It is concluded that this study offers a structured film acting training programme that facilitates the shifts from theatre acting to film acting while adhering to students’ thinking and learning preferences.
Thesis (PhD)--University of Pretoria, 2019.
Drama
PhD
Unrestricted

APA, Harvard, Vancouver, ISO, and other styles

45

Garroni, Michael Kenneth. "Identification of cis-acting elements and trans-acting factors responsible for her-1 regulation in Caenorhabditis elegans." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ58700.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Breedon, Justine. "Emotional Labor Training| The Effect of Deep Level Acting Training on Deep Level Acting and Emotional Exhaustion." Thesis, Southern Illinois University at Edwardsville, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1591327.

Full text

Abstract:

The present study examined the effects of a deep level acting training program on deep level acting skills, emotional exhaustion and Kirkpatrick’s (1994) four levels of training effectiveness. By using Brothridge and Lee’s (2003) Emotional Labor Scale, the emotional exhaustion sub-scale from Maslach’s Burnout Inventory (1986) and several self created measures the hypothesis were evaluated. The results indicated that the deep level acting training program successfully increased participants’ deep level acting skills. The deep level acting training program did not decrease participants emotional exhaustion. Lastly, the hypotheses made pertaining to the four levels of training effectiveness were not supported. In the deep level acting training condition, posttest learning scores were not significantly correlated with post deep level acting scores and posttest learning scores were not significantly correlated with trainee reactions.

APA, Harvard, Vancouver, ISO, and other styles

47

Pan, Hong-guang. "Function of the positive-acting NIT2 and negative-acting NMR proteins in mediating nitrogen regulation in Neurospora /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487943341530344.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Rynell, Erik. "Action reconsidered : cognitive aspects of the relation between script and scenic action /." Helsinki : Teatterikorkeakoulu, 2008. http://www.teak.fi/general/Uploads_files/rynell_action_reconsidered.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Fereday, Luzita. "The shifting voice: Investigating accent and dialect training for West Australian actors." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1722.

Full text

Abstract:

This masters research examines accent and dialect training for actors in the Western Australian context and seeks an understanding about what aural, embodied and cognitive attributes an actor needs in order to move from one accent to another. In particular, this research explores the characteristics of Australian dialects as grounds for the acquisition of the Standard British accent or Received Pronunciation. The purpose of this research was to identify the expertise required when teaching an accent to acting students in pre-professional levels of tertiary training. This practice-led approach to the research included interviewing, observation, the circulation of questionnaires, and my own reflective practice as a voice and dialect coach on several stage productions. The participants for this research included experts in the field of vocal and dialect training, students at two tertiary institutions in Western Australia, the Western Australian Academy of Performing Arts and Curtin University’s production of Dear Charlotte, in 2013. This thesis presents an analysis and research findings of vocal awakenings spring-boarding from working on the play, Dear Charlotte, a practical component of this research. The research has confirmed the benefits of phonetics as an important aspect of accent acquisition. The discussion focuses on the techniques used and the challenges actors face when making the shift from their idiolects to Received Pronunciation. It outlines the importance of an actor’s cognition, listening, and embodiment as facets of voice that need attention when making accent and dialect shifts. In addition to the process of enhancing and enriching my own practice as a voice and dialect coach, this research aims to contribute to understandings of accent and dialect training and the diversity of the needs from the perspective of Western Australian actors.

APA, Harvard, Vancouver, ISO, and other styles

50

Bru, Linn Sunniva, and Therese Nilsson. "Emosjonelt arbeid i offentlighetens tjeneste : En kvalitativ studie av politiets emosjonelle arbeid." Thesis, Högskolan i Halmstad, Sektionen för hälsa och samhälle (HOS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-15691.

Full text

Abstract:

A police officer may be subject to anumber of complex situationsand stresses intheir everyday work in which different emotionsmay occur, and whereemotional labour is necessary. Our intent of the study isto increase understanding of the emotional partof the police work. How the police areexperiencing an emotional preparation for work,experiencing the feelings that occur in work,and how emotions are processed. Wewill also see howthe police handlethe transmutation from their private feelings anddeal with the waythey express the emotional expressions that the colleagues and thepublic expect to see in different situations. We will see how theyhandle the transmutation from public feelings toprivate feelings again.The intention of the study is also to see if thereare organizational conditions that cansimplify the emotional labour of a police,and identify the conditions. We haveconducted seven qualitativeinterviews. By means of thecollected empirical and the theoretical basewe will analyze the emotional labour of a police, and analyze the factors that may affect the emotionallabour.The analysis describes the presence of individual factors, social support and organizational factorsthat can affectthe emotional workof a police. We illustratethe emotional workof a police with thehelp of a model that shows the relationship between different the factors.
Politietkan bli utsatt for en rekke komplekse og påkjennende situasjoner i sinarbeidshverdag hvor ulike følelser kan oppstå, og der et emosjonelt arbeid blirnødvendig. Vårt formål med studiet er å øke forståelsen for denemosjonelle delen i politiets arbeid. Hvordan politiet opplever forberedelsentil et emosjonelt arbeid, opplever følelsene som oppstår i arbeidet, samthvordan følelsene bearbeides. Vi vil også se hvordan politiet handtererovergangen fra sine private følelser, og handterer de slik at de viser defølelsesutrykk som kollegaer og allmennheten forventer seg å se i ulikesituasjoner. Vi vil også se hvordan overgangen handteres fra de offentligefølelsene til private igjen. Studiets formål er å se om det finnesorganisatoriske forutsetninger som kan forenkle det emosjonelle arbeidet til politiet,og hvordan disse ser ut. Vi har gjennomført syv kvalitative intervjuer. Med hjelp av den innsamledeempirien og studiets teoretiske utgangspunkt analyserer vi politietsemosjonelle arbeid, og faktorer som kan påvirke det emosjonelle arbeidet. Analysen beskriver at det finnesindividuelle faktorer, sosial støtte og organisatoriske faktorer som kanpåvirke det emosjonelle arbeidet til politiet. Vi illustrerer det emosjonellearbeidet til politiet med hjelp av en egen modell som viser sammenhengen mellomde ulike faktorene.

APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic 'Acting'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles