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Books on the topic 'Actor-Character'

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Published: 25 May 2024

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1

Character actor. Winnipeg, Man: Signature Editions, 2008.

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2

Mirodan, Vladimir. The Actor and the Character. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315723433.

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3

Il-sŏng, Kim. The character and the actor. Pyŏngyang, Korea: Foreign Languages Pub. House, 1987.

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4

Movement: From person to actor to character. Lanham, Md: Scarecrow Press, 1998.

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5

Soule, Lesley Wade. Actor as anti-character: Dionysus, the Devil, and the boy Rosalind. Westport, Conn: Greenwood Press, 2000.

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6

The audience as actor and character: The modern theater of Beckett, Brecht, Genet, Ionesco, Pinter, Stoppard, and Williams. Lewisburg [Pa.]: Bucknell University Press, 1989.

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7

Hall, Parnell. Actor. New York: Mysterious Press, 1993.

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8

Cowell, Stephanie. Nicholas Cooke, actor, soldier, physician, priest: A novel. New York: W.W. Norton, 1993.

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9

An actor, and a rare one: Peter Cushing as Sherlock Holmes. Lanham, Md: Scarecrow Press, 2001.

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10

Jok, Church, Wyatt Ed, and TVbooks inc, eds. Beakman's world: A visit to the hit TV show. Kansas City: Andrews and McMeel, 1993.

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11

Wyatt, Ed, ed. Beakman's World: A Visit to the Hit TV Show. Mercer Island, USA: TVbooks Inc, 1993.

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12

Walker, Jorden Jorden. Character Actor Quotes. Independently Published, 2017.

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13

Lord, Kenniston. Requiem for a Character Actor. Lulu.com, 2006.

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14

Lorrance, Arleen. Sam Jaffe: An Actor of Character. LP Publications, 2013.

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15

Mitchell, Theresa. Movement : From Person to Actor to Character. The Scarecrow Press, Inc., 1998.

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16

Mitchell, Theresa. Movement: From Person to Actor to Character. Scarecrow Press, Incorporated, 1998.

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17

Mitchell, Theresa. Movement: From Person to Actor to Character. Scarecrow Press, Incorporated, 1998.

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18

Mirodan, Vladimir. Actor Transforms: Character and the Psychology of Transformation. Taylor & Francis Group, 2018.

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19

Actor Transforms: Character and the Psychology of Transformation. Taylor & Francis Group, 2018.

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20

Stanislavsky, Konstantin. Stanislavski: An Actor Prepares ; Building a Character ; Creating a Role. Theatre Arts Books, 1989.

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21

SH, Joann Samuels. Actor Tip : Stay in Character!: Notebook Journal Composition Blank Lined Diary Notepad 120 Pages Paperback Black Ornamental Actor. Independently Published, 2019.

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22

Mirodan, Vladimir. Actor and the Character: Explorations in the Psychology of Transformative Acting. Taylor & Francis Group, 2018.

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23

Mirodan, Vladimir. Actor and the Character: Explorations in the Psychology of Transformative Acting. Taylor & Francis Group, 2018.

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24

Mirodan, Vladimir. Actor and the Character: Explorations in the Psychology of Transformative Acting. Taylor & Francis Group, 2018.

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25

Mirodan, Vladimir. Actor and the Character: Explorations in the Psychology of Transformative Acting. Taylor & Francis Group, 2018.

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26

Richmond, Ray, and William Sanderson. Yes, I'm That Guy: The Rough-And-Tumble Life of a Character Actor. BookBaby, 2019.

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27

Meerzon, Iana. Actor, stage figure, and dramatic character semiosis in Michael Chekhov's theatre practice and theory. 2003.

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28

Unlimited Actor: Easy, Innovative Techniques for Auditions, Character Development, and Unlocking Your Full Creative Range. Balboa Press, 2017.

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29

Hordern, Michael, and Michael Hordem. World Elsewhere: The Autobiography of a Well-Known British Character Actor (Isis (Hardcover Large Print)). ISIS Large Print Books, 1994.

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30

Mayans, Nancy. The Unlimited Actor: Easy New Techniques for Auditions, Character Development, and Unlocking Your Full Creative Range. Balboa Pr, 2017.

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31

Enserink, B., P. Bots, E. van Daalen, L. Hermans, J. Koppenjan, R. Kortmann, J. Kwakkel, J. Slinger, T. Ruijgh van der Ploeg, and W. Thissen. Policy Analysis of Multi-Actor Systems. TU Delft Open, 2022. http://dx.doi.org/10.5074/t.2022.004.

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Policy of Multi-Actor Systems is an introduction into the art of craft of problem exploration and problem structuring. It positions policy analysis as a scientific discipline focused on systems analysis in a multi-actor context to support better informed decision-making. The approach presented in this book is considered to be the cornerstone of the curricula of the Faculty of Technology, Policy and Management of Delft University of Technology and underlies the research on (the governance of) socio-technical systems. Systems thinking applied in a multi-actor environment and its inherent multi-disciplinary character is what makes this work stand out from traditional hard- and soft systems approaches. The core of the book is dedicated to systems analysis, actor- or stakeholder-analysis and discusses methods for dealing with uncertainty. These analytical activities combined lead to a rich problem description and to plans for further research. Due to the stepwise approach this book serves as a basis for any problem analysis both for our bachelor and master students, our alumni worldwide and any interested practitioners.
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32

Allen, Glenn Seven. The Singer Acts, The Actor Sings. Bloomsbury Publishing Plc, 2019. http://dx.doi.org/10.5040/9781350043091.

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The Singer Acts, The Actor Sings is a practical workbook for singers and actors in all disciplines, from musical theater through classical repertory to popular performance styles. The book addresses the needs of students and professionals alike, helping them face the challenges of musical performance undaunted and achieve the exhilarating feeling of living through song. Structured in three sections, this workbook first examines song structure, pitch, and style of accompaniment, enabling performers to live moment to moment within a piece of music. The subsequent sections provide clear explanations about what singing as a character really entails and how it works physiologically and artistically before taking the performer through the process of leaving preparation behind and getting down to the business of storytelling. Including online video exercises and demonstrations, The Singer Acts, The Actor Sings is an essential resource for all actors and singers. It will instill in them the competence and confidence to communicate through musical language and tell powerful stories through song.
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33

Rodriguez, Julie. Danny Trejo Adult Coloring Book: Legendary Machete and Antihero Character, Cultural Icon and Latino Actor Inspired Adult Coloring Book. Independently Published, 2018.

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34

Parks, Natasha. Christopher Walken Coloring Book: Legendary Academy Award Winner and Famous Shakespearian Character, Iconic Method Actor and Stage Player Inspired Adult Coloring Book. Independently Published, 2019.

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35

Clark, Linda. Lee Marvin Adult Coloring Book: Academy Award and Golden Globe Award Winner, Legendary Western Actor and Hardboiled Character Inspired Adult Coloring Book. Independently Published, 2018.

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36

Carpenter, Anna. Tony Shalhoub Adult Coloring Book: Tony and Golden Globe Award Winner, Adrian Monk from Monk Series and Legendary Character Actor Inspired Adult Coloring Book. Independently Published, 2018.

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37

Turner, Scarlett. Christopher Walken Color by Number: Academy Award Winner and Shakespearian Character, Method Actor and Stage Player Inspired Color Number Book for Fans Adults Stress Relief Gift. Independently Published, 2020.

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38

Mazer, Cary M. Documenting the Demotic. Edited by James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.24.

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Actor blogs—online eyewitness accounts of the rehearsal process—provide a potentially rich resource for documenting contemporary mainstream anglophone Shakespeare performances, revealing the assumptions about character, action, and meaning shared by artists and audiences, and confirming the standard practices by which a production is created. It may be significant, then, that very few blogs actually fulfil this promise. Many theatre companies use actor blogs instead to generate the impression that the audience is being allowed a privileged access to the rehearsal process without genuinely sharing the realities of that process, hoping thereby to enfranchise the audience as ‘stakeholders’ and to shape how their finished productions will be received. The chapter ends by focusing on one blog that accurately shares an actor’s rehearsal process in real time (he’s playing Petruchio in Taming of the Shrew) and, in so doing, reveals the limitations of contemporary American emotional-realism-based approaches to acting and character.
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39

Frazier, Adrian. Irish Acting in the Early Twentieth Century. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.16.

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Frank Fay, with his brother William Fay, were primarily responsible for the development of what became known as the Abbey style of acting, Frank drawing upon his study of the French actor Coquelin and the director André Antoine, William with his experience of acting in fit-up touring companies. This style, conditioned by the limited playing resources available to them, centred on fine speech, teamwork, and restraint. In a later period, after the Fays had left in 1908, the tradition of ensemble playing in a permanent company allowed for the development of fine individual character acting represented by Sara Allgood, F. J. McCormick, and Barry Fitzgerald. The actor-manager Anew McMaster, with his large romantic style, helped to shape the tradition of the otherwise modernist Gate Theatre. Irish acting in the first half of the twentieth century was thus a hybrid compound of many different elements.
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40

Actor (Stanley Hastings Mysteries. Warner Books, 1994.

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41

Warfield, Patrick. Theater on the Bandstand. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037795.003.0009.

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This chapter focuses on John Philip Sousa's theatrical works, dances, and songs. Even as his reputation as a bandleader overtook his work in the theater, his musical outlook remained thoroughly dramatic. Sousa was an actor in the same way many modern pop icons are actors, and it was through the character of the March King that the bandsman and the theatrical musician were reconciled. At the heart of this character stood the Sousa march. These three-minute works became theatrical delights when performed under the composer's baton, and every element of the Sousa march—from its initial announcement to its appearance in concerts and in middle-class parlors—converged to create the dramatic persona recognized by audiences across America.
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42

Abrams, Kathryn. When the State Hates. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190465544.003.0012.

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This chapter considers the liberal state not as an opponent, but as a perpetrator, of hate. It explores the possibility that the liberal state might express or enact, through policies or institutional action or design, something we would recognize as hate if it were perpetrated by a private actor or a repressive regime. The chapter takes as a case study the regime of “enforcement by attrition” deployed against undocumented immigrants by American states such as Arizona, analyzing both the features and the distinctive disavowals that characterize liberal state hate. It then argues that the liberal, democratic character of the state supplies more than a subterfuge for state hate: it can provide a resource that enables targeted groups and their allies to resist state hate.
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43

Thurner, Paul W. Networks and European Union Politics. Edited by Jennifer Nicoll Victor, Alexander H. Montgomery, and Mark Lubell. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780190228217.013.24.

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The European Union (EU) is a regional cooperation regime with a specific and still fluid governance structure. It constitutes the world’s largest and institutionally most deeply integrated system of international relations with supranational features. As a consequence, the literature on the EU often emphasizes informality, multilevel aspects, and its “network governance” character. Network analysis is therefore a promising perspective for the systematic investigation of complex networks of formalized actor relations as well as of informal and implicit political structures and processes in the EU. Applied network analysis is meanwhile used for the investigation of multi-level policy preparation, of collective decision-making in the political system in the EU, and of the implementation process of EU policies in the Member States.
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44

Brennan, Amanda. The Craft of Screen Acting. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350139671.

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Have you been working as an actor, but want to refine your craft and take your performance to the next level? Or do you want to transition from stage to screen acting, and secure a role on Netflix? In this essential book for young working actors, Amanda Brennan offers a specifically psychophysical approach to acting, which provides an understanding of the body as the springboard for creative exploration. Starting with understanding your own instrument, you will learn how to prepare and tune the body for creative work. This is followed by strategies for the refinement of craft, including exercises on voice, movement, character development and rehearsal processes for screen. Experienced young actors, casting directors and agents such as Asa Butterfield (The Boy in the Striped Pajamas, Hugo, Sex Education), Hannah Rae (City of Tiny Lights), Maisie Williams (Game of Thrones), Daniel Edwards and Christina Shepherd offer their comments and share invaluable advice in interviews throughout the book. With this guide, you will develop a receptive and expressive instrument and be able to build a multi-dimensional character, throughout your career.
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45

Ellis, Robin. Making Poldark: Memoir of a BBC/Masterpiece Theatre Actor. Palo Alto Publishing, 2012.

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46

Tulloch, John, and Belinda Middleweek. Beyond High Theories of Intimacy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0012.

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Chapter 10 explores the ways in which intertexuality within and between the stages of writing, directing, and performing the film The Piano Teacher create a multi-authored text. In the absence of an ethnography of production impossible for films made in the past, the authors devised a “soft ethnography” approach focused on some key players in this “multiply authored” semiotic model (namely, the prize-winning author, director, and lead actor) to suggest the flow and feedback between these different “signatures” in the text. This soft ethnography is grounded in knowledge of the writer’s discursive history and politics, the director’s television/film sense of liberation via “obscene” cinema, and the actor’s “directing” (via her construction of character) through her performance as a developing part of her star persona. These personal/public negotiations are symptomatic of the reflexive “synthesize and extend” interdisciplinary approach of Real Sex Cinema.
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47

Atkins, Joseph B. Harry Dean Stanton. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813180106.001.0001.

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Harry Dean Stanton (1926--2017) got his start in Hollywood in TV productions such as Zane Grey Theater and Gunsmoke. After a series of minor parts in forgettable westerns, he gradually began to get film roles that showcased his laid-back acting style, appearing in Cool Hand Luke (1967), Kelly's Heroes (1970), The Godfather: Part II (1974), and Alien (1979). He became a headliner in the eighties -- starring in Wim Wenders's moving Paris, Texas (1984) and Alex Cox's Repo Man (1984) -- but it was his extraordinary skill as a character actor that established him as a revered cult figure and kept him in demand throughout his career. Joseph B. Atkins unwinds Stanton's enigmatic persona in the first biography of the man Vanity Fair memorialized as "the philosopher poet of character acting." He sheds light on Stanton's early life in West Irvine, Kentucky, exploring his difficult relationship with his Baptist parents, his service in the Navy, and the events that inspired him to drop out of college and pursue acting. Atkins also chronicles Stanton's early years in California, describing how he honed his craft at the renowned Pasadena Playhouse before breaking into television and movies. In addition to examining the actor's acclaimed body of work, Atkins also explores Harry Dean Stanton as a Hollywood legend, following his years rooming with Jack Nicholson, partying with David Crosby and Mama Cass, jogging with Bob Dylan, and playing poker with John Huston. "HD Stanton" was scratched onto the wall of a jail cell in Easy Rider (1969) and painted on an exterior concrete wall in Drive, He Said (1971). Critic Roger Ebert so admired the actor that he suggested the "Stanton-Walsh Rule," which states that "no movie featuring either Harry Dean Stanton or M. Emmet Walsh in a supporting role can be altogether bad." Harry Dean Stanton is often remembered for his crowd-pleasing roles in movies like Pretty in Pink (1986) or Escape from New York (1981), but this impassioned biography illuminates the entirety of his incredible sixty-year career. Drawing on interviews with the actor's friends, family, and colleagues, this much-needed book offers an unprecedented look at a beloved figure.
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48

Naremore, James. Some Versions of Cary Grant. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197566374.001.0001.

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Some Versions of Cary Grant analyses Cary Grant’s performances in a gallery of his best films, arguing that he not only had exceptional skills but also greater range than is usually recognized. Organized in terms of five versions of Grant, it emphasizes his work as a farceur in The Awful Truth (1937), Bringing Up Baby (1938), and His Girl Friday (1940); as a dark figure in Suspicion (1941) and Notorious (1946); as a romantic leading man in An Affair to Remember (1957) and Indiscreet (1958); as a domestic male in Mr Blandings Builds His Dream House (1948) and Room for One More (1952); and as a Cockney character in Sylvia Scarlett (1935) and None but the Lonely Heart (1944). A close study of an actor who worked with important but very different directors, among them Howard Hawks, Alfred Hitchcock, and Leo McCarey, it provides a model for the appreciation of screen acting in general.
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49

Wolf, Stacy. Keeping Company with Sondheim’s Women. Edited by Robert Gordon. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195391374.013.0023.

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This chapter examines the eight female characters inCompany, what they do in the musical, and how they function in the show’s dramaturgy, and argues that they elicit the quintessential challenge of analyzing musical theater from a feminist perspective. On the one hand, the women tend to be stereotypically, even msogynistically portrayed. On the other hand, each character offers the actor a tremendous performance opportunity in portraying a complicated psychology, primarily communicated through richly expressive music and sophisticated lyrics. In this groundbreaking 1970 ensemble musical about a bachelor’s encounters with five married couples and three girlfriends, Sondheim’s female characters occupy a striking range of types within one show. From the bitter, acerbic, thrice-married Joanne to the reluctant bride-to-be Amy, and from the self-described “dumb” “stewardess” April to the free-spirited Marta,Company’s eight women are distillations of femininity, precisely sketched in the short, singular scenes in which they appear.
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50

Ellis, Robin. Making Poldark: Memoir of a BBC/Masterpiece Theatre Actor - Collectors Color Edition. Palo Alto Publishing, 2012.

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