Dissertations / Theses on the topic 'Actor training'
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Moor, Andrea L. "Contemporary actor training in Australia." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63083/1/Andrea_Moor_Thesis.pdf.
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This professional doctorate included a major research project investigating the efficacy of acting methodologies taught at four leading Australian actor-training institutions - National Institute of Dramatic Art, Queensland University of Technology, Victorian College of the Arts, and Western Australian Academy of Performing Arts. This study represents the first review of its kind, in which the 'castability' of acting graduates from each of these schools was scrutinized by industry leaders. The study not only reveals the methodologies and philosophies of each school but determines an ideal set of practices for future consideration. The doctorate also included two practice-led projects examining the candidate's transition from actor and teacher of actors to theatre director. The candidate's qualitative study was also underpinned by reflective practice on her extensive professional experience as actor, teacher and director.
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Pippen, Judith Irene. "Inscribing actors' bodies : towards an epistemology of movement praxis in actor training." Thesis, Queensland University of Technology, 1998.
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This thesis explores some of the issues involved in movement praxis in actor training, contextualising itself within the QUT Academy of the Arts in Brisbane and arts research in Australian Universities. To elucidate these issues the researcher applies the epistemology of Humberto Maturana's constitutive ontology (the philosophical
underpinnings of the biology of cognition) in multiple sites of performance theory and practice, with particular reference to the movement learning of actors. The research process has focused on publishing articles and a monograph for different groups of observers of the phenomenon under study: for Feldenkrais Practitioners, actor and drama educators, and researchers in performance studies. These articles, which are presented in a modified form in the thesis, develop the conceptual framework of the thesis; identify issues in movement training for performance, explore these issues and track movement training to performance. Insights garnered are then applied in the
researcher's practice as director of The Rivers of China by Alma De Groen. Because the researcher occupies different sites, such as that of actor in training, of director, of actor educator and Feldenkrais Practitioner, the research is polysituational and results in a heteroglossic text. This text coheres around the central proposition that
live performance can be constituted in terms of the particular dynamic of human interrelationship involved in the contract to play, and that there will be more coherence
in the movement preparation of actors for live performance if that project is viewed in terms of the dynamics of this interrelationship rather than from mechanical or instrumental theories of the moving body.
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McPherson, Leith. "Shakespeare's verse and the training actor." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2009. https://ro.ecu.edu.au/theses/163.
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A focus on the clarity of the verse in the preparation and performance of Shakespeare's plays has been seen by some modem directors and teachers as an impediment to effective storytelling. Contemporary directors and actors in both film and theatre are focussing more on making the text sound 'natural', rather than formally structured, in order to improve the accessibility of the text for a modern audience that is more familiar with interpreting a visual world than an aural one, and more appreciative of a naturalistic acting technique rather than the heightened commitment required for Elizabethan text. Furthermore, many actors and directors have written and spoken about the lack of exposure young actors have to Shakespeare in performance, let alone to performances of these texts that are illuminating or inspirational. The plays do hold tremendous appeal as literature, but it is quite clear that they were never originally intended to be experienced in that form, just as the reading of · sheet music and performance of live music are two distinct experiences. Shakespeare lived and breathed and wrote for the theatre and it is within this environment that we can most fully understand and engage with his work. This is true for students of the text, for audiences, and most significantly for the actors whose job is to communicate the verse.
Although. the teacher of Shakespeare in an acting course has to compete· for tuition time with many skills that seem more · immediately relevant to current industry demands, my belief is that the tools a student develops through learning to read and perform Shakespeare's text serve the overall growth of the ·professional actor. I also believe that a focus on the clarity and. confidence of the verse speaking will improve the quality of any Shakespeare play in performance, regardless of the other interpretive choices made by the creative team.
This thesis aims to identify the most effective ways of training students of acting to work with Shakespeare's verse. I -will be documenting my verse work with students from the Acting course · at the Western Australian Academy of Performing Arts from 2006-2008, exploring and reflecting on three key components of the work conducted with the students during that time: practical voice and poetry classes; a full public production of Shakespeare's play The Winter's Tale; -and a post-training workshop in 2007 .
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Pryde, Bernadette Anne. "Languaging the actor : an examination of the terminology used in actor training." Thesis, Queensland University of Technology, 2002. https://eprints.qut.edu.au/36445/1/Bernadette_Pryde_Thesis.pdf.
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Throughout the twentieth century increased interest in the training of actors resulted in the emergence of a plethora of acting theories and innovative theatrical movements in Europe, the UK and the USA. The individuals or groups involved with the formulation of these theories and movements developed specific terminologies, or languages of acting, in an attempt to clearly articulate the nature and the practice of acting according to their particular pedagogy or theatrical aesthetic. Now at the dawning of the twenty-first century, Australia boasts quite a number of schools and university courses professing to train actors. This research aims to discover the language used in actor training on the east coast of Australia today. Using interviews with staff of the National Institute of Dramatic Art, the Victorian College of the Arts, and the Queensland University of Technology as the primary source of data, a constructivist grounded theory has emerged to assess the influence of last century‟s theatrical theorists and practitioners on Australian training and to ascertain the possibility of a distinctly Australian language of acting.
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Taylor, Susan Leith. "Actor training and emotions: Finding a balance." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2016. https://ro.ecu.edu.au/theses/1804.
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Actor training is a challenging and personally confronting course of study during which students can undergo intense emotional upheaval. Australian conservatoires and vocational drama schools teach acting students to access and expand their emotional range as part of their professional skill repertoire. A variety of methods and techniques are used to assist and enable them to accomplish this. Sometimes, student actors are requested to tap into personal memories, which can have severe emotional repercussions. Many exercises in other areas of training can also be very emotionally confronting. Finding a balance between having emotions available for use in acting work and avoiding being negatively affected or overwhelmed by them can be a precarious path.
This research investigates the broad pedagogical positions held by a select group of Australia’s leading drama schools towards the emotional aspects of actor training. It examines the range of stresses particular to acting students during their training, and what facets of their course may contribute to this pressure. The study explores how students’ emotional issues are handled by theatre instructors and the institutions in which they teach, and inquires whether current staff members feel they have the training and resources to deal with this aspect of the acting programmes. The project examines acting students’ exposure to training practices that may carry high emotional risks, and whether the drama schools have strategies and policies in place to safeguard students’ mental and psychological wellbeing. It also examines whether emotional boundary management can be formalised in the actor training setting and where duty of care responsibilities lie within this complex environment.
The research draws on the knowledge of experienced theatre practitioners, teachers, psychologists and drama school graduates. It aims to contribute to actor training pedagogy by focusing on what is considered an under- iii discussed and under-researched element of drama school training. By exploring ways of implementing change, it is anticipated that the study may play a part in ensuring a healthier and emotionally safer environment for actor training.
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Mann, Laurin Marie. "Actor training in Toronto, theory in practice." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0006/NQ41229.pdf.
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Johnson, Anthony Lewis. "Training the Young Actor: A Physical Approach." University of Akron / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=akron1258075804.
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kennedy, Janice. "Actor Training and the Theatre Industry in Ireland." Thesis, Ulster University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.502897.
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Wion, Brenda. "Transforming Actor Training: Michael Chekhov's Psycho-Physical Technique." University of Akron / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=akron1208278580.
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Woods, Simon. "Suzuki and beyond : adapting the Suzuki actor training method /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19801.pdf.
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Gomes, Marc Andrew. "Cognitive science approaches to actor training| Interrogating conceptual language." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10255101.
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This thesis explores the ways in which the fields of neurobiology and cognitive science impact concepts of performer processes, and how the findings of this research can help actors and actor trainers to examine assumptions that inform how they frame and describe performer practices. Cognitive science research provides a precise understanding of the embodied processes of “self”, “consciousness”, “emotion” and “perceiving”, and I argue that it is productive to interrogate these terms as they pertain to descriptions of the actor’s practice and performer training.
In this thesis I describe the relevance of cognitive science findings to theatre with respect to concepts commonly advanced in actor training in the United States, namely the “self,” “truth,” and “authentic.” I offer a reconsideration of these concepts through a cognitive science lens that opens up possibilities for emerging dramatic and performance paradigms. I then propose the development of a “corporeal intelligence,” that enables an actor to propose gestures, movement, vocal strategies, and action
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Rossi, Marion O. "Life skills and actor training : pedagogical attitudes and approaches /." view abstract or download file of text, 1999. http://wwwlib.umi.com/cr/uoregon/fullcit?p9957573.
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Thesis (Ph. D.)--University of Oregon, 1999.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 192-197). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9957573.
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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.
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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.
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Selioni, Vasiliki. "Laban-Aristotle : Zώον (Zoon) in theatre Πράξις (praxis) : towards a methodology for movement training for the actor and in acting." Thesis, Central School of Speech and Drama, 2013. http://crco.cssd.ac.uk/460/.
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The focus of this research rests on an investigation into the links between Laban and Aristotle with the view to propose a new approach to movement training for the actor. I will argue that in contrast to the standard Platonic reading, Laban’s development is best understood through the conceptual framework of Aristotle. This provides not only a more secure theoretical approach, but also a practical one, which establishes the art of movement as a science. In short this investigation intends to establish Laban’s philosophical foundation upon a reading of Aristotle’s Poetics, and in particular, on the reading of the Poetics by the contemporary Greek philosopher Stelios Ramfos in his book Μίμησης Εναντίον Μορφής (Mimesis versus Form) (1991-1992). What is significant about Stelios Ramfos’s interpretation is that he attempts an analysis and interpretation of the concepts of the Poetics in terms of theatre performance. Ιt is this emphasis on performance that make possible the task I have embarked upon of locating Laban’s theory and practice in the conceptual framework of Aristotelian poetic science. The discussion will serve as a critical framework from which to propose a new way of applying Laban’s movement concepts practically to the movement training for actors. The research methodology is also practical. It will therefore also develop and present a performance that attempts to apply Laban’s terms, as they are discussed, in relation to Aristotle, and (in Chapter 4) in relation to the new methodology as well as a syllabus of practical classes addressing actor movement training both in kinaesthesia and characterization. The ultimate goal of the research is to contribute an approach that can inform the way Laban’s concepts are taught and provide suggestions for the structuring of technical movement classes for actors.
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Salsbury, Katharine. "ESTILL VOICE TRAINING: THE KEY TO HOLISTIC VOICE AND SPEECH TRAINING FOR THE ACTOR." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3384.
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The aim of this paper is to examine the Estill Voice Training System to explain how it may be used in tandem with widely accepted voice and speech methodologies such as those developed by Kristin Linklater, Patsy Rodenburg and Dudley Knight/Phil Thompson in order produce versatile performers able to meet the vocal gauntlet flung at the feet of the contemporary actor. Students must be able to effectively function as voice-over talent, sing musical theatre, rattle off classical text with aplomb and work in film, all with superior vocal health. Synthesizing proven techniques with the skills presented in the inter-disciplinary Estill Voice Training System, I hope to develop a new, anatomically specific, voice and speech training progression to efficiently assist the student actor discover the physical and emotional vocal ranges demanded of the contemporary actor.
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Morris, Eilon. "VIA RHYTMÓS : an investigation of rhythm in psychophysical actor training." Thesis, University of Huddersfield, 2013. http://eprints.hud.ac.uk/id/eprint/17541/.
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This thesis investigates the significance of rhythm to the actor, examining the ways it is approached, understood and embodied within a range of training practices. In what ways does rhythm facilitate and transform the practices of individual performers and ensembles, affecting their use of attention, physical coordination, qualities of connectivity, states of consciousness and emotions? The psychophysical mechanisms through which rhythm informs these key aspects of actor training are analysed here via a range of contemporary and historical psychophysical and cultural frameworks. Drawing on this body of research this thesis argues the case for a greater understanding of the pedagogy of rhythm within actor training, indicating a number of areas for further investigation and potential developments within this field. Beginning with Stanislavski’s use of “Tempo-rhythm” and progressing through the practices of Meyerhold and Grotowski, a number of key rhythmic principles will be discussed. This will lead on to a series of case studies on the contemporary training practices of John Britton, Nicolás Núñez, and Reinhard Flatischler. Following this will be an examination of simultaneity in acting practices and an analysis of the author’s own practical research into the use of polyrhythm as a tool for cultivating modes of simultaneous attention and action in actor training.
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Kapsali, Maria. "The use of yoga in actor training and theatre making." Thesis, University of Exeter, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.535885.
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The purpose of this thesis is to examine the practice of yoga in Western actor training and theatre practice. The starting point of this PhD research is my observation that yoga is a popular discipline that has often attracted the interest of actors, directors, and actor trainers. The aim of this thesis is to explore through practical research additional possibilities for the use/application of the discipline in training and performance. More specifically, this thesis asks the following questions: " How yoga has been used by key theatre practitioners, such as Stanislavsky, Grotowski, Richard Schechner, and Dorinda Hulton, in their work with actors and how yoga has influenced their artistic vision? " How can I use the practice of yoga in order to facilitate the actor's training and rehearsal process in relation to specific dramaturgical and performative demands? " How do the social assumptions and historical contingencies that underlie the way yoga is practiced in the West today affect the actor's training, his/her relationship to one's body, and the way s/he embodies a role? The practical investigation employed the use of Iyengar Yoga in a series of three projects, which focused on performative and pre-performative aspects of the actor's craft. The practice of yoga postures was thus explored in relation to the actor's movement, imagination and performative relationship to other actors. It has also been used in order to facilitate the actor in working with different theatrical scripts and dramaturgies as well as generate original material for performance. In this manner, this thesis has developed a set of exercises and frameworks, which combine the practice of the discipline with its application in training and rehearsal contexts
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May, Asha Kamali. "Reducing interference| Harnessing the power of spirituality in actor training." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10124513.
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This thesis investigates spirituality as a tool to reduce interference in actor training. Interference is defined as anything that inhibits the actor from reaching full potential in performance. Actor training promises to prepare the actor for performance; however, the looming threat of anxiety often debilitates the actor, blocking him/her from reaching full potential. This thesis investigates spirituality as a tool to reduce interference, while exploring the relationship between the actor and fear. This thesis defines spirituality as a metaphysical power used to release habitual tension in the actor, and not as a religious term. Through Eastern practices, sports psychology, and techniques espoused by master teachers Michael Chekhov and Jerzy Grotowski, this thesis argues that harnessing the power of spirituality can be an effective way to reduce interference in performance.
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Brown, Megan Rebecca. "Psychology and the Theatre: A Qualitative Experiment in Actor Training." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1132.
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Psychology and theatre have a remarkable amount in common. In using the basic concepts and theories of psychology, actors can develop more concrete, logical approaches to characters. This thesis is a summation of the course I developed, "Psychology and the Theatre," which was an attempt to teach students introductory psychology and then experiment with translating those concepts to character analysis and stage performance. Students were taught eight units of psychology: Sensation, Perception, and Memory; Learning; Motivation and Emotion; Development; Freud and Psychodynamic Approaches to Personality; Adlerian Individual Psychology; Love and Social Cognition; and Psychological Disorders. Students were given reading quizzes and written tests on the material from the psychology texts. In addition, students wrote journals and papers to help work through potential uses of the material. They also performed contemporary scenes, attempting to put the material into practice. This course was an overall success; most students felt that this was a unique and helpful set of tools they could use to analyze and perform characters. Students found uses for each unit of the material, allowing more depth and logic to their character choices. With further development, this material has the potential to enhance the techniques of many actors.
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Buswell, Wendy Susan. "That spatial shit: Exploring the space between actor training and training to play rugby union." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/14471.
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It is sometimes argued, albeit anecdotally, that performing artists and sports practitioners have certain basic things in common when it comes to the goals and methods of training for their respective professions: discipline, focus, care of the body. However, in the case of actor training and training to play rugby union football—the two practices with which this thesis is concerned—it is also clear that arts and sports training take place within vastly different cultural contexts. Each of these fields of practice has its own set of expectations about the performative outcomes that training should support. Each acculturates quite specific bodily habits and values. On the one hand, actors are encouraged to explore a subtle form of embodiment, one that ‘awakens all the senses’ (Bogart 2005: 20) creating an openness to a variety of psychophysical demands. In contrast, a key concern of rugby union players is to be fitter, faster, stronger, and thus, techniques of the body (Mauss 1973) are shaped to reflect the requirements of the sport. Yet, although rugby union is a physically tough collision sport, there are chaotic elements of the game that require players to exploit a more intuitive set of bodily dispositions; ones that are not developed within regular rugby union training regimes. Hence the question arises, what if anything, might a rugby union player learn from being exposed to forms of actor training? And on what terms could an interaction between these different training regimes occur? In exploring the space between actor training and training to play rugby union, this thesis raises larger questions about the possibilities of crossover training between many other disciplines.
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Kapadocha, Christina. "Being an actor/becoming a trainer : the embodied logos of intersubjective experience in a somatic acting process." Thesis, Royal Central School of Speech & Drama, 2016. http://crco.cssd.ac.uk/648/.
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Being an actor / becoming a trainer: the embodied logos of intersubjective experience in a somatic acting process This practice-as-research thesis documents a sustained period of research grounded in my experience as an actress who has become an actor-trainer within UK-based actor-training institutions. It explores the development of an original somatic actor-training methodology within different theatre teaching and performing environments. This research concentrates on challenging dualistic binaries of mind-body, inner-outer, self-other and the universalizing of the individual actor’s experience as problematic logocentrism in Stanislavski-inspired actor-training traditions. It is informed in practice by Linda Hartley’s IBMT (Integrative Bodywork and Movement Therapy) somatic approach, which is based upon Bonnie Bainbridge Cohen’s Body-Mind Centering® (BMC®) principles. I suggest the practical modification of Cohen’s developmental process of embodiment in the actor-training context through the shaping of contingent, processual and intersubjective/intercorporeal explorations which I coin as fluid structures. Rooted in the interconnection of theory and practice, or praxis, this thesis is based upon the original notion of each actor's embodied logos. This term is inspired by Merleau-Ponty’s theoretical understanding of logos as flesh that allows the perception of logos as an embodied and intersubjective experience. An emergent new somatic actor-training pedagogy contributes to contemporary actor-training practices and languages revisiting the dialogue between the actor and the trainer through the innovative intersubjective role of the trainer-witness and the relationally aware actor-mover/actor-witness. Following this processual study I articulate and respond to thorny ethical issues in actor training regarding emergent dissonances between therapy and training, training and rehearsal/performance processes, the trainer and the director, the edges of actors’ emotional expression and sense of freedom.
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Lawler, Dwayne P. "De-Domesticating the Actor: Applying Ankoku Butoh's Training Process of De-domestication to Develop Presence in Western Actor Training through Experiences of Awareness, Discipline and Energy." Thesis, Griffith University, 2021. http://hdl.handle.net/10072/404471.
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The primary aim of this research is to contribute to existing Western actor training methods that explore the experience of ‘presence’ in actor training environments, through the construction of a suite of exercises, formulated from the Japanese psychophysical performance practice of ankoku butoh (‘dance of darkness’). The research differentiates between the states of ‘being present’ and of ‘having presence’, with ‘being present’ equivalent to being in the moment, and ‘having presence’ representing an actor’s authentic presence as perceived by others. Subsequently, exercises derived from this research are specifically designed to develop each state individually, and specifically in the order of ‘being present’ and ‘having presence’. The process of ‘de-domestication’, as discussed in this research, and in its application in ankoku butoh training, refers to the elements of awareness, discipline and energy, experiences that this research posits are central to the development of presence as a performance technique. Utilising a mixed methodology of action research and reflective practice within the research framework, the study incorporated two action cycles of practical workshops whereby actor-participants experienced ankoku butoh-derived exercises to examine the possibilities of enhancing presence in actors. Cyclic principles of development, action, practice and reflection were utilised to determine if/how the exercises generated or encouraged the development of the states of ‘being present and of ‘having presence’ in the participants. The outcome of the research was the creation of a suite of exercises formulated from ankoku butoh’s process of de-domestication that may be used for enhancing presence in actors. Further applications of the exercises formulated from this study may contribute to the development of presence in other non-acting physical training disciplines such as martial arts.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Hum, Lang & Soc Sc
Arts, Education and Law
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Loth, Joanne Marie. "Developing a theatre of the integrated actor : the application of the Suzuki actor training method within three theatrical contexts." Thesis, Queensland University of Technology, 2001. https://eprints.qut.edu.au/35837/1/35837_Digitised%20Thesis.pdf.
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This research project examines the application of the Suzuki Actor Training Method (the Suzuki
Method) within the work ofTadashi Suzuki's company in Japan, the Shizuoka Performing Arts Complex
(SPAC), within the work of Brisbane theatre company Frank:Austral Asian Performance Ensemble
(Frank:AAPE), and as related to the development of the theatre performance Surfacing. These three theatrical contexts have been studied from the viewpoint of a
"participant- observer". The researcher has trained in the Suzuki Method with
Frank:AAPE and SP AC, performed with Frank:AAPE, and was the solo
performer and collaborative developer in the performance Surfacing (directed
by Leah Mercer). Observations of these three groups are based on a
phenomenological definition of the "integrated actor", an actor who is able to
achieve a totality or unity between the body and the mind, and between the
body and the voice, through a powerful sense of intention. The term "integrated
actor" has been informed by the philosophy of Merleau-Ponty and his concept
of the "lived body".
Three main hypotheses are presented in this study: that the Suzuki Method
focuses on actors learning through their body; that the Suzuki Method presents
an holistic approach to the body and the voice; and that the Suzuki Method
develops actors with a strong sense of intention. These three aspects of the
Suzuki Method are explored in relation to the stylistic features of the work of
SPAC, Frank:AAPE and the performance Surfacing.
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Shaw, Christopher. "Masked to unmasked| The value of mask work in actor training." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1528046.
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Actors create blocks based in fear, over-intellectualization of acting concepts, and the limiting assumptions they often make from any given theatrical text. Mask work can release the actor out of fear and into a non-intellectualized flow of freedom, expressivity and character transformation. Exploration with the various pedagogies and styles of Mask work can open doors for the actor that other contemporary training methods cannot, and therefore should be considered an essential component of the actor's training process.
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Accetta, Valerie. "Singing for the Actor: An Interdisciplinary Approach to Musical Theatre Training." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/2991.
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Typically, singing training for the musical theatre student is divided into three subjects: music theory, private voice instruction and acting through song. By separating the study of the components of musical theatre performance, musical theatre programs reinforce this compartmentalization and few students are able to make connections between these components in performance. This thesis gives an account of my design of an interdisciplinary approach to the study of musical theatre, specifically a class I developed called Singing for the Actor. In this class, I focused on connecting three components of musical theatre singing: music theory, vocal production (specifically the Estill Voice Training System) and acting. My intent was to help students connect these skills so that they would be able to tell a story through song with more specificity. In this thesis, I detail my research and the design of the course, as well as the outcome and student response.
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Roberts, Corey Justin. "Consuming Brazil: Afro Brazilian Religion as a Base for Actor Training." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1023.
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Actor training, like the theatre in Brazil, has historically been a middle and upper class pursuit that followed European models, namely Stanislavski's system. Yet within Brazil there is a wealth of diverse cultures that are inherently theatrical and well suited for application in actor training. In this study I explore one such culture, the Afro Brazilian religion Umbanda. First, I examine its formation to illuminate how the religion itself performed (or served as a site for cultural interaction) throughout history. Then, I explore the practice of the religion both apart from and in relation to the theatre and Stanislavski's system. Using the archetypes of Umbanda as a base, I formulate a system of actor training that both allows access to a larger demographic of Brazilians, and also encourages cultural dialogue as an explicit part of acting process. I frame this study with two metaphors: anthropophagy, the notion of cannibalizing or consuming one culture by another; and, more specifically, the digestive tract. The anthropophagy movement in Brazil framed the country's thought throughout much of the 20th century; the digestive tract is a closer examination of the consuming process that epitomizes this system of actor training.
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Schultz, Waldemar. "Training the student actor in the production process : a look at areas in which a director within a training institution can facilitate the learning process in a student actor." Thesis, Stellenbosch : Stellenbosch University, 1997. http://hdl.handle.net/10019.1/55769.
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Thesis (MDram)--Stellenbosch University, 1997.ENGLISH ABSTRACT: A thesis in which the author examines ways in which the director within an acting training institution may use the full-scale theatre production as a means of intense training for the students involved. The author contends that much of the theory and practical work taught within a classroom situation cannot be fully comprehended and/or brought to fruition if it is not tested and experienced within as realistic (pertaining to professional theatre) as possible a scenario, in the form of the student production. For the purposes of this thesis, the typical practical production process is used as a model and different areas in which the director may act as a teacher or catalyst to self-discovery are discussed largely in the order in which they might occur in practice. The author concludes that to provide intensive training through the production process would be a very time-consuming and costly endeavour, although very rewarding if it were at all possible. In addition to this, it would require a highly qualified director-trainer, with an holistic understanding of the 'theatrical art, who is prepared to invest a great amount of time and effort in such a production. Research for this thesis included reading material, practical directing and acting projects, and teaching practical acting in the capacity of a part-time lecturer at the University of Stellenbosch Drama Department.
AFRIKAANSE OPSOMMING: 'n Tesis waarin die outeur maniere ondersoek waardeur 'n regisseur binne 'n akteurs-opleidingsinstansie die volskaalse teaterproduksie kan gebruik as 'n metode vir intense opleiding vir die betrokke studente. Die outeur meen dat 'n groot gedeelte van die teorie en praktiese opleiding wat in die klaskamer weergegee word, nie ten voile verstaan of benut word, tensy die student dit beproef en beleef in so 'n realisties (wat professionele teater betref) moontlike scenario, in die vorm van 'n studenteproduksie. Vir die doeleindes van hierdie tesis word 'n tipiese produksieproses as model gebruik, en verskeie areas waarin die regisseur as onderwyser of katalisator tot selfontdekking kan optree, word grotendeels bespreek in die volgorde waarin dit in die praktyk mag voorkom. Die gevolgtrekking is dat intensiewe opleiding in die produksieproses 'n uiters tydsame en duur oefening sou wees, dog baie lonend indien prakties uitvoerbaar. Daarby sou dit 'n hoogs gekwalifiseerde regisseur-opleier verg, met 'n holistiese kennis van die teaterkuns, wat bereid is om baie tyd en moeite op s6 'n produksie te bestee. Navorsing vir hierdie tesis sluit in leeswerk, praktiese regie- en toneelspelprojekte sowel as klasgee in toneelspel as deeltydse lektor aan die Universiteit van Stellenbosch se Departement Drama.
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Yoo, Jeung-Sook. "Toward a Korean Language and Psychophysical Process of Approaching Acting and Actor Training." Thesis, University of Exeter, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.484825.
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This thesis through practice attempts to develop and articulate a theory and practice of contemporary acting and actor training from a Korean perspective by utilizing practices and underlying principles based primarily on DahnHak. DahnHak is a relatively recent form of Korean meditation developed by Seung-Heun Lee in the 80s systemizing tradition of Korean bodymind cultivation. Ki occupies a central position in DahnHaKs practice and philosophy. According to DahnHak, ki is a fundamental life force of the universe, and in relation to the body and mind, it refers to a linking state between them. This thesis examines a: psychophysical process in developing an· awareness and control of ki as an actor's creative asset along with the body and mind. Four practical projects were analyzed. In The Bald Soprano Project and The Water Station Project. I examine the psychophysical process as an actor. The Godot Project in Exeter and Seoul are examined from the perspective of facilitator/director.
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Ressegger-Slone, Elizabeth. "Movement for the Actor: A Practical Approach to the Application of Movement Training." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2449.
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An essential tool in actor education, movement training is often viewed as esoteric and difficult to apply directly to an actor’s craft. It varies widely from institution to institution, and covers anything from stage combat to Alexander Technique. One never knows what they will encounter upon entering a movement class, and students frequently have difficulty connecting work done in the movement studio to work done in the acting studio. In order for movement training to become better integrated and more easily identifiable as a necessary part of actor training, it is important to get to the essential qualities that all movement training is designed to teach. In my thesis I will explore the tenets of Stanislavski and identify the core concepts of physical work that can be found in most movement disciplines. I will conclude with an exploration of my personal experience teaching movement for actors at the junior level.
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Ferrell, Matthew B. "Should We Straighten Up? Exploring the Responsibilities of Actor Training for LGBTQ Students." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4895.
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Gay actors have a long history with the notion of “straightening up” to remain castable and economically feasible in today’s market. Searching to find answers for young acting students while strengthening their own self worth, I will explore the history of gay actors in film, television and theatre and in society to understand this notion more fully. By interviewing working actors and managers in the business I will explore how I can address this question of “straightening up” to the future generation of actors and analyze how we can face the future with integrity and self-respect.
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Robins, Gavin. "Moving the actor : towards an holistic approach to training and devising for performance." Thesis, Queensland University of Technology, 2002.
Find full textAbstract:
The purpose of this study is to understand holistic, practical methods of training and devising for physical performance. The research conducted in this thesis is designed to uncover insights into the training and devising mechanisms of my substantial experience with leading physical theatre company Legs on the Wall. In order to understand the training and devising mechanisms of Legs on the Wall I have presented a selected history of the company from their formation in 1983 to 2000. This historical overview traces major influences on the group as well as the type of training and devising the company has incorporated into their work. The way in which the company's training and devising has impacted on the development of other theatre companies and performers has been critically evaluated by the analysis of three case studies. Findings from these case studies as well as insights gained from the analysis of relevant historical data has been collated in order to answer one of the key questions in this study:
What are the mechanisms by which the Legs on the Wall training and devising process extends the physical language of actors in other professional physical theatre companies - working with their own text, dramatic structure or scenario - without impeding the artistic vision of the company?
A theme running through this study is an inquiry into the notion of holism in training for the contemporary performer. Legs on the Wall's training and devising mechanisms are reviewed in light of the concept of holism and the thesis seeks to reveal reflections by several theatre authorities relating to this topic at relevant moments in the study. Findings gained from my field research in Southern India provide further examples of
holism and the notion of training for and creating a 'total theatre'. By referring to the three case studies based on the application of Legs on the Wall's training and devising
mechanisms along with the findings relating to the concept of holism I am seeking to answer the other key question of this research:
What constitutes holistic movement training for contemporary theatre practice?
Having addressed the above key questions I allude to future directions and recommendations for the embodied contemporary performer. This study aims to provide a practical analysis of my own praxis in the field of physical
performance in the hope that other practitioners may be able to apply the methods and recommendations outlined in this thesis to their own work in the performing arts industry.
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ZECCA, CHRISTIAN. "Towards the organic actor: neuroplastic training for the dynamic activation of presence energy." Doctoral thesis, Università degli studi di Genova, 2018. http://hdl.handle.net/11567/929875.
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Rawlins, Trevor. "Studying acting : an investigation into contemporary approaches to professional actor training in the UK." Thesis, University of Reading, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.594176.
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This thesis is driven by two central concerns about contemporary actor training in the UK, namely the merger of the conservatoire approach with that of the university drama department, and the increasing dominance of screen-based media (particularly television) in the working life of the professional actor. The key tensions examined in the thesis relate to the issues created by wider cultural shifts, on the one hand in the entertainment industry, and on the other within Higher Education. The thesis argues that the conservatoire approach to actor training is based on a largely oral tradition, creating material differences between it and the more evidence-based, and largely written, university approach to drama. The thesis argues that this distinction has not been fully acknowledged, and the differences between the two approaches need to be considered, alongside wider cultural shifts, in planning the future of professional actor training in the UK. Chapter 1 sets out some significant methodological challenges, and indicates how the thesis uses them to conceptualise the practical processes of acting and actor training. The chapter concludes by proposing that a new discipline, "Acting Studies", is needed to fully integrate the conservatoire point of view within academic discourse. Chapter 2 employs case studies of Theatre WorkshoplEast 15 Acting School and the Group Theatre/Actors Studio to examine training methodologies in the UK and the USA, and Chapter 3 employs archival research (some of the first research work to make use of the ACGB Archive) to assess how the industrial landscape of the professional actor in the UK has changed over the last 40 years. Chapter 4 interrogates what actor/practitioners mean by the term "truth", and Chapter 5 proposes ways of analysing screen acting from the point of view of the proposed discipline of Acting Studies. The thesis concludes with some proposals on the way Acting Studies could combine the approaches of the university and the conservatoire, in new and fruitful ways.
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Melson, Kelli Jeanine. "The practice and pedagogy of Vsevolod Meyerhold's living legacy of actor training : theatrical biomechanics." Thesis, University of Exeter, 2009. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508276.
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Crothers, Chelsea. "Performer training evolutions: NSP the firstborn son of SMAT." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2414.
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This study examined the Nobbs Suzuki Praxis (NSP), a performer training that evolved as an Australian variant of the Japanese Suzuki Method of Actor Training (SMAT). There has been little research on NSP up until now and this study seeks to establish its importance as a training approach that has the potential to be transformative for the performers who practice it. The study utilised a multi-modal approach that included traditional and practice as research methodologies. The origins of NSP in SMAT were traced to identify similarities and differences, and reveal NSP’s inspirations and the reasons for its subsequent divergent evolution. NSP diverged as the result of an attempt by John Nobbs to clarify misconceptions about SMAT: that it is ‘movement-training’ as opposed to actor-training, that it is an exclusively Japanese theatre form as opposed to a method that could travel and transcend cultural boundaries, and that it is a directorial aesthetic or style of performance rather than a wholistic performer-training. NSP divergences were identified as alterations or additions, depending on their degree of separation from SMAT. This exegesis argues that NSP is more accessible to a broader participant group than SMAT. ‘Broader’ here means the training is more accessible to different ages, levels of experience and physical capacity. The study highlighted the particular intention in NSP of awakening a performer’s personal mythology, a uniquely individual performative state. Workshops and interviews were conducted with beginners to the training to explore the effects of NSP, revealing that it creates more formats for performers to awaken and unleash the potential of their personal mythology. While an experienced and perceptive facilitator is invaluable to a performer’s development, the performer’s access to revelatory experience was evidenced to be independent of what might be characterised as a ‘hierarchical master-student’ relationship. NSP is just one possible permutation of SMAT but this study demonstrates how NSP empowers advanced practitioners to, in turn, develop their own variations on SMAT and NSP as they respond to the individual and specific needs of their context.
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Evans, Mark A. "Movement training for the English actor in the twentieth century : conceptual structures and body learning." Thesis, Coventry University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270693.
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Swart, Rufus. "Towards an integrated theory of actor training : conjunctio oppositorum and the importance of dual consciousness." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95983.
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Thesis (PhD)--Stellenbosch University, 2014.ENGLISH ABSTRACT: The proliferation of Western actor training methods in the past century had mainly been derived from the groundbreaking research undertaken by Vladimir Nemirovich-Danchenko and Constantin Stanislavski at the Moscow Art Theatre, as well as their students Michael Chekhov, Vsevolod Meyerhold and Evgeny Vakhtangov. Poor translations of their original Russian texts have however meant that many of the principles they discovered were compromised due to misinterpretations. Yet, the ‘system’ of Stanislavski, a veritable repository of these theories, served as a template for acting teachers ranging from former American Group Theatre members such as Stella Adler, Morris Carnovsky, Robert Lewis, Sanford Meisner and Lee Strasberg, and the Polish director Jerzy Grotowski, to formulate their own distinctive techniques. The result has been a challenge to traditional notions of actors as impersonators to a more holistic view of actor-performers; versatile, multi-skilled artists willing to reveal themselves through sincere disclosures to an audience, as the theatre poet Antonin Artaud advocated they should. Although this interrogation of the essential nature of the 2,600 year old art of Thespis was necessary, there is a danger that its core tenets may have been marginalised in the process, a setback which might further delay the formulation of its own science. This research was undertaken to identify the core principles of the actor’s art that distinguish it from the other performing arts, as well as to determine how these might best be conveyed to student actors in a contemporary context. Employing the ‘system’ as a guide, in particular its ‘work on oneself’ process, which refers to an actor’s personal training, as opposed to ‘work on a role’, which relates to characterisation and performance, the theories of the abovementioned practitioners were examined and compared to Stanislavski’s to ascertain if they contributed to the further evolution of the art. Once an integrated theory of training emerged it was then tested in praxis, working with different groups of students during a three year period. This thesis documents the findings of both the literary research, based on an analysis of texts related to actor training, and those derived from ‘real-world’ applications of these theories in an Higher Education environment. A key aim of the study was thus to determine whether a ‘work on oneself’ form of training could be offered in the formal education sector, despite its psychological implications, and how this might be approached in a ‘healthy’ manner. A selection of audio-video recordings done during the empirical investigation accompanies the thesis in order to substantiate its theory.
AFRIKAANSE OPSOMMING: Die verspreiding van opleidingsmetodes vir Westerste akteurs in die afgelope eeu het hoofsaaklik ontstaan uit die baanbrekers-navorsing van Vladimir Nemirovich-Danchenko en Constantin Stanislavski aan die Moskou Kunsteater, sowel as dié van hul studente Michael Tsjechov, Vsevolod Meyerhold en Evgeny Vakhtangov. Swak vertalings van die oorspronklike Russiese tekste beteken egter dat van die beginsels wat hulle ontdek het weens misverstande gekompromiteer is. Tog het die 'stelsel' van Stanislavski, as neerslag van hierdie teorieë, as 'n templaat vir toneelspelopleiders gedien wat wissel van voormalige lede van die Amerikaanse Groep Teater soos Stella Adler, Morris Carnovsky, Robert Lewis, Sanford Meisner en Lee Strasberg, sowel as die Poolse regisseur Jerzy Grotowski, om hul eie kenmerkende tegnieke te formuleer. Die gevolg was 'n uitdaging van tradisionele sienswyses van akteurs as nabootsers tot 'n meer holistiese sienswyse van akteurs as veelsydige, multi-bekwame kunstenaars wat gewillig is om hulself opreg te onthul voor 'n gehoor, soos die teater-digter Antonin Artaud voorgestel het hul moet. Alhoewel hierdie bevraagtekening van die essensiele aard van die 2,600 jaar oue kuns van Thespis nodig was, is daar 'n gevaar dat sy kern-beginsels in die proses gemarginaliseer is, 'n terugslag wat die formulering van die kunsvorm se eie wetenskap verder mag vertraag. Hierdie navorsing is onderneem om hierdie kernbeginsels van die akteur se kuns te identifiseer wat dit van die ander uitvoerende kunste onderskei, asook om te bepaal hoe hulle die beste oorgedra kan word aan student-akteurs in 'n kontemporêre konteks. Deur die 'stelsel' as 'n gids aan te wend, in besonder die ‘werk aan jouself’ proses wat verwys na 'n akteur se persoonlike opleiding in teenstelling met ‘werk aan 'n rol’ wat verwys na karakterisering en performance, is die teorieë van die bogenoemde praktisyns ondersoek en vergelyk met Stanislavski s’n om te bepaal of hul bygedra het tot die kunsvorm se verdere ontwikkeling. Toe 'n geïntegreerde teorie van opleiding te voorskyn gekom het, is dit prakties getoets met verskeie groepe studente oor 'n tydperk van drie jaar. Hierdie tesis dokumenteer die bevindinge van beide die literêre navorsing, gebaseer op 'n ontleding van tekste wat verband hou met akteuropleiding, en die bevindinge wat uit die toepassing van die teorieë in 'n Hoër Onderwys omgewing gegroei het. 'n Belangrike doel van die studie was dus om te bepaal of 'werk aan jouself’ as opleiding in die formele onderwys sektor aangebied kan word, ten spyte van die sielkundige implikasies, en hoe dit dalk op 'n ‘gesonde’ wyse benader kan word. 'n Seleksie van klank-en-video opnames wat tydens die empiriese ondersoek gedoen is, word dus by die tesis ingesluit om sekere teorieë te ondersteun.
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Pye, Valerie Clayman. "The influence of Shakespeare's globe on actor training and contemporary performance in End-on theatres." Thesis, University of Exeter, 2011. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.548827.
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Smith, Andrew L. "Playing to the beat, a play, devising and collective creation in actor training, an exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2578.
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Actor training in a conservatoire context is a rigorous, immersive and challenging course of study in which students are extended in the core principles of acting, movement and voice. A variety of teaching methods and techniques are used to assist and enable student actors to become accomplished artists. This is mostly achieved by working on existing scripts from the classical and contemporary canon. However, during the last 20 years, there have been significant funding cuts to arts organisations and screen production, so waiting for auditions and work is no longer a realistic option for most young graduates. This research interrogated whether the conservatoire model of actor training can adapt to changing industry demands by introducing devised work into the curriculum.
I adopted an a/r/tographic methodological approach, using the three aspects of my professional identity—artist, researcher and teacher—to create a new theatre work alongside third-year actors, interviewing them over 18 months. This allowed me to use insider knowledge and examine my shifting roles during the creative process while reflecting on approaches to fostering a student-centred learning environment.
I directed this devised theatre work, The Beat Generation, with third-year actors based on the 1950’s anti-authority movement (including performance, poetry and jazz) in a promenade production at the Fremantle Arts Centre, Western Australia, over five nights. The production was recorded and became the central creative component and artefact for my study, which allowed me to examine and reflect on the implications of the devising process. This included examining the learning outcomes and potential pedagogical shifts in the Western Australian Academy of Performing Arts (WAAPA) BA (Acting) program, to aid in developing an autonomous and resilient actor that may be better prepared for the vagaries of the industry.
My role shifted in the process, and I learned through a/r/tography how to encourage and enable the actors to make their own choices in relation to producing content. It became apparent that students gained a sense of empowerment and confidence by developing their own material and could apply the skills learned in some way during their career.
I realised that embedding systems of devising throughout the training could create many benefits for graduating actors. Through my investigation and interviews with students and leading educators in the field, I assess how and where devising could be most beneficial in a conservatoire training environment. My findings from the research and subsequent recommendations have been developed with the acting program staff at WAAPA. These include a scaffolded approach by: (1) introducing a vocabulary of devising, including lessons on collaborating and work on small studio-based pieces in the first year; (2) collaborating as an ensemble on a movement project and storytelling in the second year; and (3) creating a fully devised work in the students’ third year.
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Prior, Ross W. "Characterising Actor Trainers' Understanding of their Practice in Australian and English Drama Schools." Thesis, Griffith University, 2005. http://hdl.handle.net/10072/366623.
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Institutionalised actor training, which is essentially a twentieth century phenomenon, often remains a mysterious facet of the theatre industry due largely to the unarticulated understandings of pedagogical practices of acting tutors. This thesis examines acting tutors instructional approaches to actor training in leading drama schools in Australia and England. Using qualitative case study, the report found that tutor responses could be grouped in terms of tutors views of themselves, drama schools and the training process. The goals that the tutors had for actor training could be divided into four interrelated categories: intellectual, personal, social and practical, with a strong emphasis on personal and social meanings. In Phenix's (1964) terms, the informants' meanings were synnoetic - direct, personal, and experiential; and the informants were using metaphor and narrative to try to communicate these meanings. In the terms of Broudy (1977) they were using different contextual frameworks of 'knowledge(s)-with' and these meanings were often expressed as polarisations or divides in meaning: for example teaching versus inspiring; conservatoire versus university; artist versus academic; systematic versus eclectic; trust versus scepticism; and experiential versus intellectual. The data suggest that the meanings that the tutors had constructed on acting and on the teaching of acting were difficult to communicate in conventional ways. These difficult-to-convey and sometimes polarised meanings are developing in the drama school community of practice, over time, as a result of the different experiential histories of people who work within these schools. Most of the informants in the study had come from careers in acting, had worked in the theatre industry more broadly and also themselves had initial drama school training. It is possible that their differences in constructing meaning may be due to differences in their historically derived frameworks or contexts against which they construct meaning - different 'knowledge(s)-with'. However, much of what these tutors articulate is underpinned by core understandings of acting and actor training. As a result, there had developed a shared 'craft-based way of knowing' what acting is and how actor training should proceed. That is, the acting tutors had brought their own synnoetic meanings to the drama school context, and this had developed over time into the shared mixture of seemingly quasi-pedagogical and anti-pedagogical tutor objectives. The expression of informants meanings echoes Bruner's (1986) differentiation between paradigmatic or logico-scientific' modes of knowing from a narrative mode. Paradigmatic modes of knowing are used for good theory and logical proof whereas the application of the narrative mode involves good stories and historical (although not necessarily 'true') human accounts. The study acknowledges the different ways in which individuals apprehend experience, access the meanings that they construct on experience, and how they seek to render and communicate those meanings to others. Actor training, like acting itself, contains meanings which have consolidated over time into automated ways of knowing and are difficult to convey in conventional ways. Although it appears that much of their discussions of practice remained largely tacit, tutors demonstrated both tacit and explicit forms of knowledge, which were derived from various kinds of experiences. A perceived separation between the 'academic' ('theoretical' or the 'intellectual') and the 'practical' appeared to be largely derived from experientially acquired knowledge. In actor training, approaches to pedagogy are hard to capture by virtue of particular meanings being constructed vicariously through the process of moving from novice to expert. This is unlike traditions of generalist teaching which have sought to communicate a more explicit understanding of pedagogy and thus giving rise, perhaps, to why it is often claimed that acting cannot be taught.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Vocational, Technology and Arts Education
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Vorontsova, Hikmet Sabahat Özgüler. "Tradição e modernidade na preparação do actor-marionetista." Master's thesis, Universidade de Évora, 2012. http://hdl.handle.net/10174/14935.
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A presente dissertação questiona a tradição e a modernidade no contexto do ensino artístico na área do teatro de marionetas na cidade de Évora, num período de tempo que se inicia com o processo de transmissão da tradição dos Bonecos de Santo Aleixo (BSA) a partir dos anos 80 e que chega até aos nossos dias. Pretendemos avaliar a força transformadora deste processo como marco inicial de uma série de acções académicas e artísticas que tiveram como palco a cidade de Évora, cujos agentes são identificados nos momentos do surgimento da Bienal Internacional de Marionetas de Évora, organizada pelo Centro Dramático de Évora (CENDREV); Seminário Internacional de Marionetas de Évora (SIME), organizada pelo Centro de História da Arte e Investigação Artística da Universidade de Évora (CHAIA/UÉ) e o Curso de Mestrado em Teatro Ramo Arte do Actor-Marionetista (CMT/AAM), do Departamento de Artes Cénicas (DAC) da Universidade de Évora (UÉ). Procuraremos demonstrar que no debate sobre a transmissão da tradição do teatro de marionetas dos BSA, coadunam questões sociológicas, políticas, culturais e artísticas que se prolongam e desenvolvem inseridas na modernidade, culminando na discussão sobre o ensino artístico regular na área do teatro de marionetas. Neste contexto, indagaremos ainda sobre as características pedagógico-artísticas deste primeiríssimo curso de teatro de marionetas, no ensino superior público, através de observações e da análise das apresentações públicas da Aula Aberta e do espectáculo A Cantora, como resultado do Projecto I, que faz parte do Plano de Estudos deste curso; ABSTRACT: The present dissertation questions the tradition and the modernity in the context of the artistic teaching in the area of the puppet theater in the city of Evora, within a period of time that begins with the process of transmission of the tradition of the Santo Aleixo’s Puppets in the 1980s to our days. We intend to value the transforming strength of this process as the initial landmark of a series of academic and artistic actions that took place in the city of Evora, whose agents are identified with the creation of the Internacional Puppet Bienal of Évora (BIME) organized by the Centro Dramático de Évora (CENDREV); International Puppet Seminar of Evora (SIME), organized by the Centro de História da Arte e Investigação Artística da Universidade de Évora (CHAIA/UÉ) and the Course of Master's degree in Theater Branch Art of the Actor-Puppeteer, of the Departamento de Artes Cénicas da Universidade de Évora. We will try to demonstrate that, in the discussion on the transmission of the tradition of the puppet theater of the BSA, combine sociological, political, cultural and artistic questions that are extended and develop inserted in the modernity, culminating in the discussion on the artistic teaching in the area of the puppet theater. In this context, we will furthermore inquire on the artistic-pedagogic characteristics of this very first course of Puppet Theater, in the public higher education, through observation and analysis of the public presentations of Open Classroom (Aula Aberta) and of the show The Singer (A Cantora), as a result of Project I, which is part of the Plan of Studies of this course.
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Batzoglou, Antonia. "Towards a theatre of psychagogia : an experimental application of the Sesame approach into psychophysical actor training." Thesis, Central School of Speech and Drama, 2012. http://crco.cssd.ac.uk/381/.
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This thesis based in practice as research proposes a pedagogical model for supporting the actor’s inner psychological process within the area of psychophysical actor training. By invoking Socrates’ concept of psychagogia, I critically examine key aspects of psychophysical actor training in order to clarify the conceptual and pragmatic meaning of ‘psyche’ within the psychophysical process. Socrates describes psychagogia as the educational art of leading the psyche towards dialectical examination of the good. It is Aristotle, however, who identifies the art of tragedy as the greatest form of psychagogia, and it is in this context that the thesis re-introduces psychagogia for actor training. My research investigates in practice the application of a modified Sesame Drama and Movement Therapy approach for actors. It entails a series of projects and workshops exploring a pedagogical model based on the Sesame methodology and structure, and using ancient Greek myths as vehicles to encounter conscious and unconscious aspects of the psyche. The research addresses the necessity for an embodied experience and awareness of the psyche by confronting creatively its conscious and unconscious aspects. I aim to show how a Sesame Drama and Movement Therapy approach facilitates this process in a safe and reflexive way, raising the actor’s awareness of this tacit and intangible inner quality.
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Sandström, Karoliina. "Self and no-self : an examination of the role of ideas about the self in actor training." Thesis, University of Huddersfield, 2013. http://eprints.hud.ac.uk/id/eprint/20887/.
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This thesis examines the notions of self and no-self, specifically in light of the actor’s experience and manner of engagement in actor training. Arguing that the actor’s assumptions and beliefs regarding self affect embodiment and engagement in training, the thesis highlights the importance of considering these notions, and proposes some practical explorations. Training experiences in theatrical biomechanics and the work of Nicolás Núñez are reflected upon as practical references for the investigation. The lack of a fixed ongoing self in experience is identified as a key stance in considerations within philosophy, psychology and neuroscience, and the consequences, for the actor, of conceiving an independent, on-going self as existing in experience are suggested to lead to a perceived dualism that is at times considered to interfere in the actor’s work. The thesis suggests an understanding of self as a ‘myth’ created through ‘storytelling,’ conceptualisation and embodied metaphor, and as a process of neurological mapping as argued by George Lakoff and Mark Johnson, Antonio Damasio, Louis Hoffman and others. For considering the notion of no-self and the actor’s potential for operating without a sense of personal identity, the thesis draws on the no-self theory of Buddhism and ‘attunement’ and the ‘self-cultivation’ model proposed by Nagatomo Shigenori and Yuasa Yasuo. Drawing on no-self theory, the questions regarding dualism in the actor’s experience, a transformation of habitual patterns of movement and action, everyday consciousness and the actor’s manner of engagement in training are examined. Identifying actor-training as a process of self-exploration and self-definition in the work of Phillip Zarrilli, Eugenio Barba and others, the thesis argues for the importance of considering the notions of self and no-self and introduces alternative models for this examination.
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Sloan, Dennis. "From la Carpa to the Classroom: The Chicano Theatre Movement and Actor Training in the United States." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1584738087430235.
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Vidal, Christopher Drew. "Integrating Actor Training into Movement Design: An Analysis of the Fight Direction in Tamburlaine and Edward II." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/770.
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The following thesis draws from a recent production assignment at the Shakespeare Theatre Company in Washington, D.C., in which I acted as Associate Fight Director under Broadway Fight Director Rick Sordelet. We worked on three shows in all: William Shakespeare's Taming of the Shrew, and Christopher Marlowe's first play, Tamburlaine, and his last, Edward II. By analyzing and assessing the working methods utilized during this production process, I hope to elucidate the most effective elements, and finally synthesize the tenets of my own working method. Structurally, I will recount the experience chronologically, from preproduction to performance, treating the pros and cons in each section of production. As a movement designer, I am interested in choreographic methods that both draw organically from actor's impulses, and integrate acting choices immediately. Too often the acting work is left off until the end; the actors are expected to layer their choices onto a fight that was not choreographed with those choices in mind. Instead, I seek to articulate a working method that allows and guides actors towards physical engagement with specific objectives, and that enables actors to make active choices from the very beginning.
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Glidden, Jennifer. "A Contemporary Application of Boris Goldovsky’s Method for Training the Operatic Singer-actor: a Model for Today’s University Opera Workshop Instructor." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699901/.
Full textAbstract:
Throughout the twentieth century, Boris Goldovsky (1908-2001) played a significant role in training the operatic singer-actor. One of his most significant contributions was integrating music and drama. He taught his students how to develop a character, how to find dramatic clues in the music, and to become expressive artists free from monotonous operatic gestures and posturing. As author of the first textbook for training the operatic singer-actor, his curriculum was developed from experience, acting traditions, and mentor-student relationships. A new forum, Opera Workshop, allowed him to experiment and test his methods. Although Goldovsky is known to some scholars as the “Father of Training the Operatic Singer-Actor,” his presence in modern day training material is almost non-existent. How can we understand the needs of educating today’s operatic singer-actor without knowing the very foundation upon which it was built? This paper applies Goldovsky’s method of training to a staging and performance of Act II scene I from Humperdinck’s Hansel and Gretel. Providing this modern application of his training will demonstrate the relevance of his contributions for educators in a contemporary university setting. My findings suggest that Goldovsky’s approach and philosophy to training the young singer-actor provides practical and valuable knowledge that is still viable for today’s university singer-actor educator.
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Punpeng, Grisana. "Meditation in motion to mindfulness in performance : a psychophysical approach to actor training for Thai undergraduate drama programmes." Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/3652.
Full textAbstract:
This thesis explores the ways in which an actor training scheme can be constructed to allow the participants to directly apply the principles of training to their work in the moment of performing. Subsequently, my aim is to employ this actor training approach alongside or as an alternative to the current acting courses in undergraduate drama programmes in Thai universities. Three practical projects were carried out as part of the research. In the first project, I attempted to identify essential areas of enquiry in a psychophysical actor training approach, and the tasks that needed to be tackled by an actor in rehearsal and performance that allow what may be considered the quality of an actor’s presence to emerge. In the second practical project, I examined the function of meditation in motion as an actor training tool that enables the participants to tackle their performance tasks. In the third practical project, I explored the ways in which meditation in motion can be employed in a university actor training course in Thailand to enhance the students’ mindfulness in performance. This thesis argues that Buddhist concepts of meditation and mindfulness are beneficial to the course facilitator in terms of the structuring of an actor training course, and to the students when approaching performance tasks. The main result of this research is a psychophysical approach to actor training, focusing on the practice of meditation in motion and the Buddhist concept of mindfulness of the present, designed specifically for Thai undergraduate drama programmes. Moreover, this thesis demonstrates a move away from the East-West binary towards a more localised and customised approach to actor training in Thailand and the utilisation of resources within the Thai or the broader Asian culture. It also opens up other possibilities of applying Thai or Asian philosophies to performance training, without relying on the Western perspectives on theatre and performance.
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Garre, Rubio Soledad Pilar. "Shifting paradigms of practice in 'Interpretación Gestual' : integrating bodymind training with Michael Chekhov's acting techniques within the context of training professional actors in Spain." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/8281.
Full textAbstract:
This thesis examines the implementation of an actor-training programme in the context of Spanish drama schools during 2004-2005. Reflecting through the student's practice as well as my own practice as a teacher, actor and director, I investigate how a bodymind training based on martial arts disciplines and designed by Phillip Zarrilli may contribute to understand the theory and the practice of an actor's use of the imagination as Michael Chekhov proposes it. Core questions arise from the evaluation of what is the professional knowledge that the integration of both systems of training brings to the students. The action of research is placed in how the process of learning such competencies take place and become informative of both the research and the acting practice. The concept of acting is being analysed by looking at the significance of the actor's imagination from a phenomenological rather than a psychological perspective. The discussion includes the challenge that developing a new pedagogy in a drama school brings up to a better understanding of contemporary paradigms of theatre practice and education.'Interpretación Gestual' is since 1992 an established branch in the Real Escuela Superior de Arte Dramático de Madrid (RESAD). Acting in physical (gestural) theatre conveys some problematic issues concerning its theory and practice within both professional and pedagogical contexts. Implementing a new and specific teaching programme for the preparation of professional actors in the context of the RESAD urges me to clarify inpractice certain issues about these two different approaches to actor training, as well as their presence in today's education within the curriculum of official drama schools in Spain.
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Sarmento, JÃlia Peredo. "The crazy rasaboxes: production intensity in the actor's work." Universidade Federal do CearÃ, 2015. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=14267.
Full textAbstract:
CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel SuperiorRasaboxes is a playful dynamic of physical training for actors / performers practiced on a tray, on other words, on a square drawn on the floor, divided in nine boxes. This boxes are named with nine rasas, or flavors, in sanskrit. The player must try each rasa, putting it bodily in the space. The player must change immediately his body state whenever changes the box. The rasas are: bibhasta/disgust, sringara/love, bhayanaka/fear, hasya /laugh, adbhuta/surprise, vira/courage, karuna/sadness, raudra/anger and shanta/peace. Based on the derridian notion of getting the subjetil crazy, there was a practical investigation where the words that constitute the Rasaboxes's tray were deployed in synonymous and gradations, creating other eight trays that invite to exercise the production of affections on / for the body. This work pretends to discuss the results of this research through three decisive instances of the Rasaboxes - the space, the words and the body. Notions as the Neutral , the sensation and the vibrating body dialogue with this study to think intensively the actor labor nowadays.
O Rasaboxes à uma dinÃmica lÃdica de treinamento fÃsico para atores/performers praticada num tabuleiro, ou seja, num quadrado riscado no chÃo, dividido em nove boxes, nomeados com nove rasas, ou sabores, em sÃnscrito. O jogador deve experimentar cada rasa, colocando-a corporalmente no espaÃo. Sempre que mudar de box, o jogador deve mudar imediatamente seu estado corporal. As rasas sÃo: Bibhasta-nojo, Sringara-amor, Bhayanaka-medo, Hasya-riso, Adbhuta-surpresa, Vira-coragem, Karuna-tristeza, Raudra-raiva e Shanta-paz. A partir da noÃÃo derridiana de enlouquecimento do subjÃtil, fez-se uma investigaÃÃo prÃtica onde as palavras que compÃem o tabuleiro foram desdobradas em seus sinÃnimos e gradaÃÃes, criando outros oito tabuleiros que convidam a exercitar a construÃÃo de afetos no/pelo corpo. Essa dissertaÃÃo pretende discutir os resultados advindos dessa investigaÃÃo a partir de trÃs instÃncias decisivas do Rasaboxes - o espaÃo, as palavras e o corpo. NoÃÃes como o Neutro, a sensaÃÃo e o corpo vibrÃtil dialogam com essa pesquisa para pensar intensivamente o trabalho do ator na contemporaneidade.
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Williams, Alice. "The Production of Luck: Learning to Act, in the discipline of Theatre Anthropology." Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/23220.
Full textAbstract:
Theatre Anthropology, the work of Eugenio Barba, Odin Teatret, scholars and performers of the International School of Theatre Anthropology is unique in theatre history, enacting and theorising the relationship between theatrical action and thought. It has, predominantly, been received within discourses of theatre history, intercultural theatre, and performance analysis. This has been necessary for the constitution of the field. It is, however, also important the literature meet this field on its own terms, as an interdisciplinary model for action and thought. This thesis, The Production of Luck: Learning to Act, in the discipline of Theatre Anthropology, is an auto – ethnographic contribution to this field. Based on my experience as a young artist in workshops at Odin Teatret, it develops a theory of luck built on vitalist and ancient philosophies. Luck is understood as realising conscious or unconscious intentions, unintentionally. Defined discursively, in this thesis, as well as through actions, The Production of Luck is an evolution of my own scholarly and theatrical practice, overcoming projected knowledge, paradoxically, by working with the determinism of the body. Dynamic principles of Theatre Anthropology are at play in 'higher order' faculties such as speech, language and thought. Principles of the actor's work can be traced through disciplines such as neurology, psycho – therapy, politics and philosophy, articulating a 'pre – expressivity' which increases the capacity for action between cultures and disciplines. This thesis is a joyful account of my creative process, and the technical knowhow this research has offered in realising my own intentions, unintentionally. Articulating the value of Theatre Anthropology for my own context, it offers a new vision for theatre that goes beyond the bodies we know, and frames theatre as an evolutionary act of encountering the unknown.