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Dissertations / Theses on the topic 'Actor'

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Published: 4 June 2021
Last updated: 22 June 2024

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1

Kilarski, Sharon K. "An emerging theory of actor learning : the actors' perspective /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9988676.

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2

Krishnakumar, Sita Srinivasaraghavan. "Intelligent actor mobility in wireless sensor and actor networks." Diss., Atlanta, Ga. : Georgia Institute of Technology, 2008. http://hdl.handle.net/1853/24735.

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Thesis (Ph.D.)--Electrical and Computer Engineering, Georgia Institute of Technology, 2008.
Committee Chair: Abler, Randal T.; Committee Member: Copeland, John A.; Committee Member: Haas, Kevin; Committee Member: Moore II, Elliot; Committee Member: Owen III, Henry L.
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3

Mahjoub, Reem Khalid. "Efficient Actor Recovery Paradigm for Wireless Sensor and Actor Networks." Thesis, University of Bridgeport, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10745143.

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Wireless sensor networks (WSNs) are becoming widely used worldwide. Wireless Sensor and Actor Networks (WSANs) represent a special category of WSNs wherein actors and sensors collaborate to perform specific tasks. WSANs have become one of the most preeminent emerging type of WSNs. Sensors with nodes having limited power resources are responsible for sensing and transmitting events to actor nodes. Actors are high-performance nodes equipped with rich resources that have the ability to collect, process, transmit data and perform various actions. WSANs have a unique architecture that distinguishes them from WSNs. Due to the characteristics of WSANs, numerous challenges arise. Determining the importance of factors usually depends on the application requirements.

The actor nodes are the spine of WSANs that collaborate to perform the specific tasks in an unsubstantiated and uneven environment. Thus, there is a possibility of high failure rate in such unfriendly scenarios due to several factors such as power fatigue of devices, electronic circuit failure, software errors in nodes or physical impairment of the actor nodes and inter-actor connectivity problem. It is essential to keep inter-actor connectivity in order to insure network connectivity. Thus, it is extremely important to discover the failure of a cut-vertex actor and network-disjoint in order to improve the Quality-of-Service (QoS). For network recovery process from actor node failure, optimal re-localization and coordination techniques should take place.

In this work, we propose an efficient actor recovery (EAR) paradigm to guarantee the contention-free traffic-forwarding capacity. The EAR paradigm consists of Node Monitoring and Critical Node Detection (NMCND) algorithm that monitors the activities of the nodes to determine the critical node. In addition, it replaces the critical node with backup node prior to complete node-failure which helps balances the network performance. The packet is handled using Network Integration and Message Forwarding (NIMF) algorithm that determines the source of forwarding the packets (Either from actor or sensor). This decision-making capability of the algorithm controls the packet forwarding rate to maintain the network for longer time. Furthermore, for handling the proper routing strategy, Priority-Based Routing for Node Failure Avoidance (PRNFA) algorithm is deployed to decide the priority of the packets to be forwarded based on the significance of information available in the packet. To validate the effectiveness of the proposed EAR paradigm, we compare the performance of our proposed work with state-of the art localization algorithms. Our experimental results show superior performance in regards to network life, residual energy, reliability, sensor/ actor recovery time and data recovery.

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4

Helmhout, Jan Martin. "The social cognitive actor a multi-actor simulation of organisations /." [S.l. : [Groningen : s.n.] ; University Library Groningen] [Host], 2006. http://irs.ub.rug.nl/ppn/297984268.

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5

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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6

Konda, Vijaymohan (Vijaymohan Gao) 1973. "Actor-critic algorithms." Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/8120.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2002.
Includes bibliographical references (leaves 143-147).
Many complex decision making problems like scheduling in manufacturing systems, portfolio management in finance, admission control in communication networks etc., with clear and precise objectives, can be formulated as stochastic dynamic programming problems in which the objective of decision making is to maximize a single "overall" reward. In these formulations, finding an optimal decision policy involves computing a certain "value function" which assigns to each state the optimal reward one would obtain if the system was started from that state. This function then naturally prescribes the optimal policy, which is to take decisions that drive the system to states with maximum value. For many practical problems, the computation of the exact value function is intractable, analytically and numerically, due to the enormous size of the state space. Therefore one has to resort to one of the following approximation methods to find a good sub-optimal policy: (1) Approximate the value function. (2) Restrict the search for a good policy to a smaller family of policies. In this thesis, we propose and study actor-critic algorithms which combine the above two approaches with simulation to find the best policy among a parameterized class of policies. Actor-critic algorithms have two learning units: an actor and a critic. An actor is a decision maker with a tunable parameter. A critic is a function approximator. The critic tries to approximate the value function of the policy used by the actor, and the actor in turn tries to improve its policy based on the current approximation provided by the critic. Furthermore, the critic evolves on a faster time-scale than the actor.
(cont.) We propose several variants of actor-critic algorithms. In all the variants, the critic uses Temporal Difference (TD) learning with linear function approximation. Some of the variants are inspired by a new geometric interpretation of the formula for the gradient of the overall reward with respect to the actor parameters. This interpretation suggests a natural set of basis functions for the critic, determined by the family of policies parameterized by the actor's parameters. We concentrate on the average expected reward criterion but we also show how the algorithms can be modified for other objective criteria. We prove convergence of the algorithms for problems with general (finite, countable, or continuous) state and decision spaces. To compute the rate of convergence (ROC) of our algorithms, we develop a general theory of the ROC of two-time-scale algorithms and we apply it to study our algorithms. In the process, we study the ROC of TD learning and compare it with related methods such as Least Squares TD (LSTD). We study the effect of the basis functions used for linear function approximation on the ROC of TD. We also show that the ROC of actor-critic algorithms does not depend on the actual basis functions used in the critic but depends only on the subspace spanned by them and study this dependence. Finally, we compare the performance of our algorithms with other algorithms that optimize over a parameterized family of policies. We show that when only the "natural" basis functions are used for the critic, the rate of convergence of the actor- critic algorithms is the same as that of certain stochastic gradient descent algorithms ...
by Vijaymohan Konda.
Ph.D.
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7

Hildebrand, Sara. "Creating an actor." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1628.

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It is the goal of this paper to document through written description the personal approach that I would take in creating a role for the theatre. It will also describe what I feel to be valuable attributes and traits that make successful theatrical performance. Through the dissection of these two areas, I will glean a valuable personal insight into my work, how I've grown within it, and where I need to continually push to learn more.
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8

Scafuto, Vincenzo. "Actor Kit: Design and Development of an Actor Framework for Swift." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2016.

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Nell'ambito dello sviluppo software, la concorrenza è sempre stata vista come la strada del futuro. Tuttavia, questa è stata spesso ignorata a causa del continuo sviluppo dell'hardware che ha permesso agli sviluppatori di continuare a scrivere software sequenziale senza doversi preoccupare delle performance. In un'era in cui le nuove architetture hardware presentano processori multi-core, tutto questo non è più possibile. L'obiettivo di questa tesi è stato quello di considerare il Modello ad Attori come valida alternativa allo sviluppo di applicazioni in ambito mobile e quindi di progettare, sviluppare e distribuire un nuovo framework sulla base di tale modello. Il lavoro parte quindi da una panoramica di Swift, il nuovo linguaggio di programmazione presentato da Apple al WWDC 2014, in cui vengono analizzati nel dettaglio i meccanismi che abilitano alla concorrenza. Successivamente viene descritto il modello ad attori in termini di: attori, proprietà, comunicazione e sincronizzazione. Segue poi un'analisi delle principali implementazioni di questo modello, tra cui: Scala, Erlang ed Akka; quest'ultimo rappresenta la base su cui è stato ispirato il lavoro di progettazione e sviluppo del framework Actor Kit. Il quarto capitolo descrive tutti i concetti, le idee e i principi su cui il framework Actor Kit è stato progettato e sviluppato. Infine, l'ultimo capitolo presenta l'utilizzo del framework in due casi comuni della programmazione mobile: 1) Acquisizione dati da Web API e visualizzazione sull'interfaccia utente. 2) Acquisizione dati dai sensori del dispositivo. In conclusione Actor Kit abilita la progettazione e lo sviluppo di applicazioni secondo un approccio del tutto nuovo nell'ambito mobile. Un possibile sviluppo futuro potrebbe essere l'estensione del framework con attori che mappino i framework standard di Apple; proprio per questo sarà reso pubblico con la speranza che altri sviluppatori possano evolverlo e renderlo ancora più completo e performante.
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9

Thimmapuram, Aravind. "Distributed recovery of actor failures in wireless sensor and actor networks /." Available to subscribers only, 2008. http://proquest.umi.com/pqdweb?did=1559859581&sid=7&Fmt=2&clientId=1509&RQT=309&VName=PQD.

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10

Guneydas, Ismail. "ACTOR POSITIONING IN WIRELESS SENSOR AND ACTOR NETWORKS USING MATCHING THEORY." Available to subscribers only, 2008. http://proquest.umi.com/pqdweb?did=1674095431&sid=1&Fmt=2&clientId=1509&RQT=309&VName=PQD.

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Thesis (M.S.)--Southern Illinois University Carbondale, 2008.
"Department of Computer Science." Keywords: Gale-Shapley, Wireless sensor networks. Includes bibliographical references (p. 42-45). Also available online.
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11

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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12

Lawrence, Robert S. "Belize: new international actor." Thesis, Tulane University, 1985. http://hdl.handle.net/10945/28012.

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13

Patti, William. "JOURNEY OF AN ACTOR." Kent State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=kent1241455977.

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14

Arroyo, Andrea. "Un actor sin escenario." Universidad Peruana de Ciencias Aplicadas (UPC), 2015. http://hdl.handle.net/10757/344524.

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Trabajo ganador durante en el Curso Taller de Periodismo Literario 2014-2, Facultad de Comunicación y Periodismo, Universidad Peruana de Ciencias Aplicadas - UPC. Lima, Perú
Han pasado ocho años desde que Jaime Lértora escuchó por última vez el aplauso de personas sedientas de verlo actuar. Ocho años desde que el ruido de una claqueta y el grito de acción le indicaban que tenía que convertirse por unos minutos en otra persona. Ahora pasa su tiempo en su tranquila casa en los Pantanos de Villa y ha reemplazado las luces y el reconocimiento por la vida de oficina, pero nunca olvidando la verdadera pasión de su vida: el teatro
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15

Janapala, Srinivas. "Maximizing connected coverage via controlled actor relocation in Wireless Sensor and Actor Networks /." Available to subscribers only, 2008. http://proquest.umi.com/pqdweb?did=1597619381&sid=12&Fmt=2&clientId=1509&RQT=309&VName=PQD.

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16

Soule, Lesley Anne. "Character, actor and anti-character." Thesis, University of Exeter, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.387186.

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17

Harkins, Michael Ashley. "Steel Magnolias: An Actor Directs." ScholarWorks@UNO, 2006. http://scholarworks.uno.edu/td/356.

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This thesis is an endeavor to accurately document and define my actor coaching process as a director through Robert Harling's Steel Magnolias. The following chapters contain a record of the development of my actor coaching process in this production, including character & actor analysis, a rehearsal log that provides a daily track of my progress, and an evaluation of the process and resulting performance.
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18

Pierce, Zechariah H. "The Actor Behind the Camera." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4113.

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Through an accidental discovery of an interest in the film making process, I decided to explore the opportunities that would come through self-education in the field. Along the way, I found that the process of working behind the camera can, in fact, help the actor’s career in front of the camera and provide a chance to train in a nontraditional way. After directing two projects (one simple and one more complicated), I decided to propose a class in which students would be required to self- produce their own video projects online. The class was vastly popular, and the students’ responses to the class work lined up with my learning objectives perfectly. The actor must take control of his/her career by constantly working on the craft, and that can easily be done through going out and shooting one’s own work. Even if it doesn’t result in being ‘discovered,’ the pursuit allows the actor’s creativity and perspective to be ever widening.
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19

Alves, Pereira Paulo. "“O Actor-Bailarino do Tchiloli”." Doctoral thesis, Departamento de Artes Cénicas, Escola de Artes, UE, 2012. http://hdl.handle.net/10174/8096.

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O tema escolhido para a lição síntese (O Actor-Bailarino do Tchiloli de São Tomé), da unidade didáctica “Teatralidade e Lusofonia” pareceu-nos adequado para umas provas deste género, pois permite abordarmos, numa perspectiva antropológica e teatrológica, as especificidades da criatividade cultural num determinado espaço físico e temporal. Reparemos que o Tchiloli reúne, em si, universos culturais de proveniências muito díspares, quer em termos geográficos e contextos históricos distintos, quer dentro do ponto de vista ritualístico-religioso. O Tchiloli, para além da representação de uma peça de teatro, é de certa forma um ritual dos mortos devidamente camuflado, assumindo-se simultâneamente como um discurso de natureza ‘bachtiana’. Permite-nos abordar questões do forum da teatralidade em manifestações performativas populares com um fundo religioso de natureza sincrética, bem como questões relativas à transversalidade de cultura e, ainda aspectos relacionados com o fenómeno da inversão do discurso como estratégia de resistência, primeiramente anti-colonial e depois contra os abusos de poder numa realidade pós-independência. Tal como em Bachtin , também aqui se pode lêr, nas entre-linhas, uma outra proposta semiótica. A tragédia (assim designada) mistura-se com aspectos de comicidade. O riso é estratégicamente provocado como atitude crítica contra as condições criadas pelo poder do status quo ante. Naturalmente que a corporalidade dos actores/bailarinos (aqui designados por figurantes), assim como a utilização que os mesmos fazem de toda uma série de adereços (aparentemente descontextualizada da história) obriga-nos a compreender esta performance, em particular e, a teatralidade das manifestações culturais, em geral, como um processo de natureza global, para além da extrema capacidade de apropriação e/ou descodificação de vários significados realizados pelos diversos povos.
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20

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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21

Joshi, Nandan. "Actor systems platform design and implementation of the actor paradigm in a distributed object-oriented environment." Master's thesis, This resource online, 1993. http://scholar.lib.vt.edu/theses/available/etd-04272010-020116/.

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22

Plumer, Andrew G. "Iranian Sanctions An Actor-Centric Analysis." Thesis, Monterey, California. Naval Postgraduate School, 2012. http://hdl.handle.net/10945/6852.

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Economic sanctions concerning Irans nuclear program are not having their intended political effect. Uranium enrichment continues despite sanctions. This thesis argues that international economic smart sanctions are failing because they are not altering the relative positions of power between the factional actors in the Iranian political economy, and because the actors who desire to continue enrichment remain in control of the economy and state institutions. The Iranian political economy is a clientelistic state, with differing rival autonomous patron-actors and associated client bases all competing for a larger slice of economic rents. Economic sanctions have failed because the more conservative actors and their clients have entrenched themselves in the economy and control of these rents, thereby diverting the costs of sanctions to their political competitors while simultaneously using sanctions to strengthen their own client base. Research indicates that while stronger economic sanctions could be designed, their chances of success remain unknown. Only a complete and thoroughly enforced embargo on Iranian petrochemical sales, with a simultaneous economic strengthening of reformist actors in the political economy, who are open to a nuclear enrichment policy change, will result in the political goals sanctions are designed to achieve.
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23

Kachur, Barbara Anne. "Herbert Beerbohm Tree : Shakespearean actor-manager /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu148726601122317.

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24

Marlin, Maggie. "Musical Theatre Handbook for the Actor." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1774.

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MUSICAL THEATRE HANDBOOK FOR THE ACTOR By Maggie Elizabeth Marlin, MFA A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. Virginia Commonwealth University, 2009 Major Director: David S. Leong Chairman, Department of Theatre Musical Theatre is a performance style deeply woven into the fabric of the American theatre. We live in time and social climate where over half of the productions open on Broadway right now are musicals. If actor training institutions profess a mission to prepare their students for a career in the entertainment industry, why are so many components of an actor’s skill set left to the side and considered peripheral? One can make the argument that their actor training program is exclusively for the theatre, and even more specifically for straight plays for the theatre. Of course, what your career preparation institution chooses to target is your prerogative and as long as that is clear to the incoming students who wish to specialize only in that one faction of the artist’s opportunities for work then my argument is moot. However, if you believe that actor training has a duty to prepare actors to work in an ever changing and transforming field and to be competitive in meeting the demands of various media, among many other areas of focus you should consider preparing your students to develop their craft for musical theatre as legitimately as you would for a classical or contemporary straight play. In this thesis I propose an approach to creating a role for musical theatre using as an example my character development technique for the role of Sally Bowles from a recent production of Cabaret. My desire is to illustrate a seamless continuation of the actor’s craft to meet the additional requirements of skills necessary to perform in a musical. Rather than signifying a separate style of acting for musical theatre which is identified as being altogether different and often dismissed as inferior to the craft of acting in a straight play, I hope to challenge the reader to consider a new perspective in which the foundation of musical theatre performance is built on the fundamentals of acting in a straight play.
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25

Morales, Andrés Felipe. "Collaboration between the Cinematographer and Actor." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-202908.

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26

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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27

Kelman, Stephanie Ann Londré Felicia Hardison. "Arthur Wayland Ellison a Kansas City actor /." Diss., UMK access, 2006.

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Thesis (M.A.)--Dept. of Theatre. University of Missouri--Kansas City, 2006.
"A thesis in theatre." Typescript. Advisor: Felicia H. Londre. Vita. Title from "catalog record" of the print edition Description based on contents viewed Jan. 29, 2007. Includes bibliographical references (leaves 85-100). Online version of the print edition.
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28

Mignon, Ingrid. "Entering renewable electricity production : An actor perspective." Licentiate thesis, Linköpings universitet, Projekt, innovationer och entreprenörskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-103319.

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Although energy transition is considered one of the main challenges of our time, little attention has traditionally been paid to the actors participating in this transition, such as the producers of renewable electricity. Previous energy policy literature and policy- makers have assumed that these producers are incumbent actors of the current energy system, that is to say, large utilities producing both renewable and fossil-fueled electricity. In reality, new types of producers are entering the renewable electricity production market, without much (if any) previous experience in that industry. This Licentiate thesis studies the new entrants of renewable electricity production in order to identify their motives, their responses to policies, and their ways of implementing their projects. This is conducted through the analysis of 37 cases of new entrants in Sweden. A theoretical background, a complete description of the methods, and an overall presentation of the findings are presented in the first part of the thesis, and in the second part of the thesis, four scientific papers studying the new entrants of renewable electricity production from complementary theoretical approaches are presented. Results show that the new entrant group is heterogeneous in several ways. They have different motives, they are affected by different drivers and pressures, and they are faced with different challenges during their entry processes. Despite that, their share of investments represents the majority of those currently being made in renewable electricity production in Sweden. Based on these results, policy implications are drawn and, in particular, the need for policy-makers and energy policy literature to acknowledge the particularities of the new entrants is highlighted.
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29

Hrynyak, Anastasiya. "Seis personajes en busca de un actor." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/34094.

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The modern critics offer two different approaches regarding characterization in Golden Age Spanish theatre. The first approached, used by the majority of literary critics, consists in assuming that that the reader has to discover something that is hidden in the text. According to this approach, stage characters are creations of the author who, like a great architect, produces personalities that the reader has to discover. On the other hand, there are critics who claim that the characters have to be constructed by the reader. (José María Ruano de la Haza, Víctor Dixon). The main goal of my thesis is to elaborate a methodology for the constriction of dramatic characters and apply it to the six “prototypical” characters described in the classic study by Juana de José Prades.
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30

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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31

Parker, George. "Actor Alone: Solo Performance in New Zealand." Thesis, University of Canterbury. Theatre and Film Studies, 2008. http://hdl.handle.net/10092/1035.

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This thesis explores solo performance in New Zealand. That solo performance has been widely used in New Zealand's relatively brief theatre history is usually ascribed to the economy, manoeuvrability and adaptability of the form - common reasons for the popularity of solo performance elsewhere as well. But this thesis considers solo performance as a kind of theatre that has been suited to New Zealand in a distinctive way. In particular, I argue that solo performance has emerged on the margins of mainstream theatre in New Zealand as a means of actively engaging with a sense of isolation that typifies the post-colonial New Zealand experience. The ability of the solo performance to move between remote rural settlements and urban centres has connected these New Zealand communities in a way that is unusual for theatre in New Zealand. Furthermore, a solo performer speaking directly to an audience about the experience of living in New Zealand allows for an intimate interaction with a traditionally stoic and laconic masculine society. In this thesis, I make a case for three solo performances where it is possible to see, in the representation of a search for what it means to be a New Zealander, a theatrical contribution to nation-building: The End of the Golden Weather (1959), Coaltown Blues (1984) and Michael James Manaia (1991). However, in a subsequent chapter, I look at solo performances in New Zealand that might better be understood within global movements such as feminism and multiculturalism. I argue that this shift has depleted the power that the form once held to comment upon New Zealand identity and to assist in the search for national identity. I conclude the thesis by considering how ongoing theatre practice may be informed by the experience of solo performance in New Zealand.
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CRESPO, DANIEL RISI VIANNA. "THE DIGITAL ACTOR: A CHARACTER DESIGN PERSPECTIVE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2008. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=12251@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
Esta dissertação tem como objetivo analisar os aspectos de design envolvidos na credibilidade de personagens geradas através de computação gráfica, que operam como efeitos especiais em filmes de ação ao vivo. Para isto, é apresentada a hipótese de que se trata de uma categoria ontologicamente discreta de personagens - propondo-se a nomenclatura atores digitais para designá-la - cujo processo de design se baseia em três contextos de desenvolvimento: os níveis diegético, imagético e tecnológico. Essa proposição é investigada através da metodologia do estudo de caso, utilizando-se a criatura Gollum, da trilogia cinematográfica O Senhor Dos Anéis (2001-2003). A análise das variáveis intrínsecas a cada um dos contextos citados indica que, de fato, essas personagens clamam por uma abordagem original de design, sugerindo novos papéis e novas habilidades para o designer.
This paper aims to analyze the design aspects responsible for the believability of computer generated characters in live-action movies. This research proposes the hypothesis that synthetic thespians constitute an ontologically distinct category of characters - to which the term Digital Actor is proposed - based upon a design process that involves three development contexts: the diegetic, the perceptual and the technological levels. In order to carry out such investigation, the case study methodology is used, in which the creature Gollum, from the movie trilogy The Lord of the Rings (2001-2003) is analyzed. The intrinsic variables investigated in this case show that Digital Actors in fact suggest an original design approach and therefore a new role for the designer.
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33

Abuhammash, E. V. "Transfer actor as mediator of cellular immunity." Thesis, Сумський державний університет, 2013. http://essuir.sumdu.edu.ua/handle/123456789/32144.

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Transfer factor (s) - are small molecules, that transfer the ability to recognize pathogens (bacterial or viral) cells of the immune system, never exposed to this pathogen. When you are citing the document, use the following link http://essuir.sumdu.edu.ua/handle/123456789/32144
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34

Gandhi, Rajiv. "Communication infratructure for a distibuted actor system." Master's thesis, Virginia Tech, 1994. http://hdl.handle.net/10919/41855.

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The goal of this project was to develop part of the environment that would allow the creation of distributed applications in ACT++. ACT++ is a programming framework in which concurrent object-oriented programs can be written in C++. The concurrent objects in ACT ++ are called actors. Specifically, the project is concerned with the development of a communication infrastructure that configures a collection of heterogeneous machines for use in the distributed version of ACT++.

A utility, "ActorControl," was implemented through which the user can specify how ACT ++ is to run on each of the nodes by means of a configuration file. The "ActorControl" utility starts a process on each of the nodes specified in the configuration file and establishes TCP socket based connections among all of them. To simplify the communication between the different nodes, a special type of actor called an interface actor is used. Instead of issuing communication requests directly to sockets, a request is directed to an interface actor that is responsible for that socket. A related project is concerned with the problems of creation, destruction and invocation of the methods on the remote machine.

Thus the project consists of two parts. The first part is the implementation of the "Actor Control" utility that establishes socket connections among all the nodes participating in the distributed ACT ++. The second part is the implementation of the interface actors that are present at each end of the connection between any pair of machines.


Master of Science
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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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36

Sethson, Mea. "The Alexander Technique for a singing actor." Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-84849.

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Abstract This thesis examines the postural effects of Alexander Technique training on a classical singer. The aim was to see how working with an Alexander Technique instructor would improve my singing. I have been taking lessons in Alexander technique on a weekly basis and practicing Alexander technique for approximately an hour each day. I have conducted an interview with singer and longtime Alexander technique practitioner, Anne Cecilie Røsjø Kvammen. I have talked to my physiotherapist, Carl Colliander, about pain linked to a tight psoas muscle. Four songs were memorized and recorded two times, once in December and once in April. The recordings were analyzed, first by me and then by Barbro Olsson, Alexander technique instructor. I found that my alignment has generally improved and, as a result, my head position has become more stable. I have become better at managing stress during performances. The enhanced awareness of alignment has helped me make more successful choices in the practice rooms. It also has made me better at interpreting my singing pedagogue’s instructions during lessons. Additionally I have less pain, especially in the neck area.
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Haarhoff, Emil Ernst. "Embodied shiftings to bridge actor-character dissonance." Thesis, University of Pretoria, 2020. http://hdl.handle.net/2263/78618.

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When a script stipulates actions, gestural routines and mental models for a character that clash with the personal values of the actor, it creates dissonance between what the actor (as person) believes, represents or feels, and that which the character (as fictional construct) is interpreted to represent. This dissonance may negatively impact on the believability of the actor inhabiting the ‘as if’ world of the character, or stifle actor engagement with the fictional world. This study proposes a theoretical approach to navigating this potentially performance- restricting dissonance through a cross-disciplinary approach that draws on various disciplines, theories and models. It includes, but is not limited to embodiment, Neuro-Linguistic Programming, Multi-Level Neuro Processing and exposure strategies. Habitual patterning, personal restrictions, behaviours, values, socio-cultural and politico- historical paradigms, socialisation, cognitive dissonance, impulse avoidances and others are subjectively sculpted and embodied in and through lived experiences. In articulating this approach, the study places emphasis on practical guiding and enabling of the actor to manage these embodied and lived experiences, personal values and subjective restrictions in relation to performance material that the actor perceives to be challenging and uncomfortable. This study aims to facilitate ways to navigate actor-character dissonance, whilst remaining sensitive to actors and their respective processes in engaging with, and depicting, a character in a competent and believable manner. Instead of forcing actors to work through restrictions or preventing talented actors from auditioning or participating in a production due to their seemingly unmanageable dissonances and bodyminded non-consent, this study argues for possible solutions to manage contradictory values and stances respectfully, through a multilayered and multidisciplined process. This empirical study was located in a qualitative research paradigm, using qualitative methodologies. The intervention design was based on existing scholarship, as reflected in chapters two to five. To limit the scope of the study, the focus was on nudity and the intimacy surrounding nudity in performance. The study used action research to strategise, implement and reflect on the practical intervention strategy. Data collection took place through practice- based experiences and observations. The research process was realised in three phases ranging from private to semi-public, to explore the hypothetical strategy with a selection of trained male actors. The research phases are discussed in chapters one and six. Phase one consisted of three one-on-one conversation-based coaching sessions calibrating and unpacking the participants’ thinking, perspectives, perceived consequences and limiting beliefs regarding performance-based nudity. Phase two was an optional phase and participants volunteered to engage in this phase after completing phase one. This phase consisted of a three-day workshop, implementing and embodying the tailored research techniques and strategies to alleviate discomforts regarding performance-based nudity. Phase three was another optional phase. Here, the intervention strategy was applied to text. A new play was written specifically for these purposes, entitled Love, and how? This play offered an array of actions which challenged the actors’ subjective and unique discomforts. The purpose of this challenge was to assess the hypothetical facilitation strategy in a real-life simulation of a professional rehearsal process, culminating in two closed performances. The qualitative findings of this study conclude that the integration of these multidisciplinary processes aid the actors in alleviating tension and approaching dissonance in performance with increased control and nuanced acting. In addition, they introduced mid-performance coping mechanisms, derived from these processes, thus enabling the actor to continue to perform safely.
Thesis (PhD)--University of Pretoria, 2020.
Drama
PhD
Unrestricted
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Blisset, Robert C. "Actor-Singer-Musician: the New Triple Threat." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4928.

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A relatively new form of theatre has arisen and grown exponentially in the last half century. Theatrical musicals that require actors to play musical instruments have become common, bordering on pervasive. (Since the success of Pump Boys and Dinettes in the late 1970s scores of shows have followed suit, generating hundreds of new examples of this work.) Even so, they are the most difficult style of show to cast, due to a dearth of performers who are trained in the nature of these shows. The origin of this absentia of qualified performers is a lack of academic attempts to create the entertainers needed in this vital section of the industry. A person in possession of the following research could find themselves: 1) educated on how to find such work, 2) informed on the strongest methods involved in winning those jobs, 3) learned on the methods needed to practice this niche in a professional manner, and 4) aware of the esoteric challenges, flaws, and pitfalls of actor-musician-productions. Until books are published, classes are created, and educational expectations are demanded of actor-musicians in programs, actors will continue to dubiously drag their instruments to auditions for jobs they don’t know how to get or to do.
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Gandhi, Rajiv. "Communication infratructure for a distributed actor system /." This resource online, 1994. http://scholar.lib.vt.edu/theses/available/etd-03302010-020449/.

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Vykunta, Venkateswara Rao. "Class management in a distributed actor system." Master's thesis, This resource online, 1994. http://scholar.lib.vt.edu/theses/available/etd-02022010-020159/.

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41

Groot, Annemarie E. "Demystifying facilitation of multi-actor learning processes /." Online version, 2002. http://bibpurl.oclc.org/web/25911.

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42

Boschian, Valentina. "Models and Methods for Multi-Actor Systems." Doctoral thesis, Università degli studi di Trieste, 2012. http://hdl.handle.net/10077/7431.

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2010/2011
The study of the models and methods to apply to multi-actor systems is a widely discussed research topic in the related scientific literature. The multi-actor systems are defined as systems that are characterized by the presence of several autonomous elements, of different decision makers and of complex rules that allow the communication, the coordination and the connection of the components of such systems. Commonly, the study of Multi-Actor System, MAS, recalls the well-known issues concerning the multi-agent systems. The research topic related to the multi-agent system firstly started to appear in scientific literature in 1980s, mainly in relation to the computer science and artificial intelligence. In this dissertation, in particular, the study of the multi-agent systems, and specifically of the multi-actor systems, is taken into account merely in relation to the distinctive features of complexity that characterize such systems and not to the issues concerning the agent-oriented software engineering. Therefore, the research results presented in this thesis are focused on the development and on the realization of innovative models and methodologies to face the management and the decision making mechanisms applied to complex multi-actor systems. This dissertation especially focuses on two different examples of multi-actor systems in two very diverse perspectives. The former deals with the research problem related to intermodal transportation networks, while the latter with the so called consensus problem in distributed networks of agents. Concerning the research problem related to the intermodal logistic systems, the research activity addresses the management of their more and more increasing complexity by the applications of the modern Information and Communication Technologies (ICT) tools that are key solutions to achieve the efficiency and to enhance logistics competitiveness. The related scientific literature still seems lacking in addressing with adequate attention the impact of these new techniques on the management of these complex systems and, moreover, there is an apparent lack of a systematic and general methodology to describe in detail the multiplicity of elements that can influence the dynamics and the corresponding information and decision making structure of intermodal transportation systems. The innovative results presented in this dissertation are focused on the development of an Integrated System, IS, devoted to manage intermodal transportation networks at the tactical as well as operational decision level to be used by decision makers both in off-line planning and real time management. To specify the Integrated System, a reference model is developed relying on a top-down metamodeling procedure. These innovative research results are a contribution to bridge the gap and to propose not only a systematic modeling approach devoted to describe a generic multi-actor logistic system, but also a management technique based on a closed loop strategy. The second example of application is focused on a topic that is widely discussed in scientific literature related to the study of the multi-actor collective behaviors in a distributed network. The interaction protocols that allow the agents to reach the convergence to a common value is called consensus or agreement problem. This research problem is particularly studied in the context of cooperative control of multi-agent systems because the agents are autonomous, independent and have to interact in a distributed network. The presented research results address the investigation of new and fast alignment protocols that enhance the performances of the standard iteration protocols for particular topologies of digraphs on the basis of a triangular splitting of the standard iteration matrix. The examined examples, the models and the methodologies applied to analyze them, are very different in the two cases and this testifies the large extent of research problems related to the multi-actor systems.
L’analisi di modelli e metodi da sviluppare e da applicare nel contesto dei sistemi multi-attoriali costituisce un tema molto variegato e discusso nella letteratura scientifica internazionale. I sistemi multi-attoriali sono sistemi che si contraddistinguono per la presenza di molti elementi autonomi diversi tra loro, di molteplici decisori e di complesse regole che determinano la comunicazione, il coordinamento e la connessione all'interno di tali sistemi. Frequentemente, facendo riferimento a sistemi multi-attoriali, Multi-Actor Systems, si richiama il tema molto attuale dei sistemi multi agente, Multi-Agent Systems. Diffusisi a partire dal 1980, i sistemi multi agente sono spesso studiati in relazione alle metodologie di sviluppo dell'ingegneria del software. Nel presente lavoro di tesi, il tema dei sistemi multi-agente, ed in particolare di quelli multi-attoriali, non viene analizzato in questo contesto, ma in relazione alle tecniche decisionali da adottare per gestire sistemi caratterizzati da un alto livello di complessità. In tale ambito, i risultati presentati all'interno di questa dissertazione sono focalizzati sullo sviluppo e sulla realizzazione di nuovi metodi e di nuove metodologie, in grado di affrontare la gestione della complessità dei sistemi multi-attoriali. Vengono in particolare esaminate due diverse problematiche, in due contesti completamente diversi e con tecniche differenti, a testimoniare le vaste applicazioni che riguardano i sistemi multi-attoriali. I problemi analizzati sono incentrati, in primo luogo, su un'applicazione inerente la gestione di sistemi logistici intermodali ed, in secondo luogo, sullo studio delle regole o protocolli di interazione in una rete distribuita di agenti autonomi. Per quanto riguarda l'aspetto legato ai sistemi intermodali di trasporto, un tema molto discusso nella letteratura scientifica recente, l'analisi si focalizza sulla gestione della loro sempre crescente complessità, tramite l'utilizzo di sistemi dell'Information and Communication Technology, ICT. Questi strumenti richiedono metodi e modelli che sono innovativi rispetto a quanto è presente nella letteratura scientifica, all'interno della quale è stata riscontrata la mancanza di un approccio sistematico e sufficientemente ad alto livello per la realizzazione di una metodologia in grado di descrivere allo stesso tempo sia la molteplicità di elementi che influenzano le dinamiche e le informazioni, sia le strutture decisionali dei sistemi intermodali. L'innovazione dei risultati presentati in questa tesi si focalizza proprio sull'esigenza di proporre un sistema integrato, Integrated System (IS), basato su un metamodello delle reti intermodali di trasporto, che fornisca un valido supporto ai decisori sia a livello tattico che operativo. Il secondo aspetto affrontato in questa tesi riguarda un altro argomento di largo ed attuale interesse nella letteratura scientifica, che viene comunemente chiamato problema del consenso. Questo problema affronta lo studio di come diversi agenti autonomi collocati su una rete distribuita siano in grado di comunicare e di accordarsi su un valore comune, senza la presenza di un decisore centrale. A questo scopo ci sono degli algoritmi che specificano le regole o protocolli di interazione tra i diversi agenti. In tale contesto, i risultati proposti si focalizzano su alcune problematiche rappresentate dal protocollo classico del consenso e soprattutto sulla sua scarsa efficienza in particolari conformazioni delle reti di agenti. Il lavoro di tesi propone, quindi, un approccio di suddivisione, splitting, della matrice standard di iterazione, di tipo triangolare, che presenta notevoli vantaggi in termini di performance rispetto all'algoritmo classico. Lo studio di problemi multi-attoriali, pertanto, richiede lo sviluppo di innovative metodologie decisionali e di nuovi metodi di gestione delle comunicazioni, per rispondere al livello sempre crescente di complessità, offrendo in questo modo alcuni spunti molto interessanti per la ricerca.
XXIV Ciclo
1984
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43

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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Karlsson, Eric. "Kolmården - an emerging development actor? : A qualitative case study of employees perspectives about Kolmården as a potential development actor." Thesis, Linnéuniversitetet, Institutionen för samhällsstudier (SS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-91112.

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Society is facing major challenges with an ongoing mass extinction of more than one million species worldwide caused by the destruction of ecological systems, deforestation, habitat loss, the increase of invasive species, climate change, illegal wildlife tracking, poaching and poverty. Challenges in which zoos worldwide contribute with important educational programs, innovative research and conservation strategies to ease the negative impact on local communities within developing countries. This essay considers that zoos through policies of in-situ conservation do play an important role within the wider context of development aid and sustainable development. However, Kolmården does not seem to understand that their policies have a significant impact on local communities within developing countries, especially since Kolmården execute scarce controls of aid management. Research has been conducted through semi-structured interviews at Kolmården, interviewees consist of zoo pedagogies and animal caretakers. This research displays the importance of zoos and its strategies, it also tries to explain the problem Kolmården stands for by lacking an overall organization that supports zoos within the political sphere. The lack of political support, ignorance, and misconceptions harms Kolmården and the zoo community. As a result, one may argue, that Kolmården among other zoos to be stuck within the dilemma “tragedy of the commons” presented by the ecologist Garrett Hardin in (1968). However, zoos are grossly underutilized institutions with great potential to conduct global sustainable development and safeguard wildlife from becoming extinct through development aid and in-situ conservation, which is supported by Kolmården Foundation through financial donations, innovative research, educati
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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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Bode, Lisa Merle Theatre Film &amp Dance UNSW. "From shadow citizens to teflon stars : cultural responses to the digital actor." Awarded by:University of New South Wales. Theatre, Film and Dance, 2005. http://handle.unsw.edu.au/1959.4/20593.

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This thesis examines an intermittent uncanniness that emerges in cultural responses to new image technologies, most recently in some impressions of the digital actor. The history of image technologies is punctuated by moments of fleeting strangeness: from Maxim Gorky's reading of the cinematographic image in terms of 'cursed grey shadows', to recent renderings of the computer-generated cast of Final Fantasy: The Spirits Within as silicon-skinned mannequins. It is not merely the image's unfamiliar and new aesthetics that render it uncanny. Rather, the image is received within a cultural framework where its perceived strangeness speaks allegorically of what it means to be human at that historical moment. In various ways Walter Benjamin, Anson Rabinbach and N. Katherine Hayles have claimed that the notion and the experience of 'being human' is continuously transformed through processes related to different stages of modernity including rational thought, industrialisation, urbanisation, media and technology. In elaborating this argument, each of the four chapters is organized around the elucidation of a particular motif: 'dummy', 'siren', 'doppelg??nger' and 'resurrection'. These motifs circulate through discourses on different categories of digital actor, from those conceived without physical referents to those that are created as digital likenesses of living or dead celebrities. These cultural responses suggest that even while writers on the digital actor are speculating about the future, they are engaging with ideas about life, death and identity that are very old and very ambivalent.
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Bidar, Reihaneh. "Service co-creation behaviour in actor-to-actor co-creation systems: From service-dominant logic to socio-service dominant logic." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/119156/1/Reihaneh_Bidar_Thesis.pdf.

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Co-creation studies have focused on customer-provider value creation in service system. However, the current literature does not consider service co-creation in a multi-actor environment in which behavioural dynamic of individuals plays a role. We propose a model of service co-creation behaviour (SCB) that represents why actors' collaborate in service co-creation. We found seven themes including Platform Capabilities, Relational Capital and Actor Competencies as the key environmental stimuli, and which influence the two actor value perceptions of Purposive value and Network value, which all combine to lead actors to collaborative and citizenship behaviours. The findings provide important implications to theory by extending the co-creation behaviour to actor-to-actor service co-creation context. Practitioners can apply the insights regarding actors' SCB to improve collaborations, hinder destructive behaviours and enrich creative forces to increase value formation.
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Liedtke, Gernot. "An actor-based approach to commodity transport modelling /." Baden-Baden : Nomos, 2006. http://www.loc.gov/catdir/toc/fy0803/2007465785.html.

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Idiáquez, U. Cristian. "Aproximación Psicoanalítica al Cuerpo del Actor en Escena." Tesis, Universidad de Chile, 2011. http://www.repositorio.uchile.cl/handle/2250/112759.

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Magíster en psicología clínica de adultos
Aproximaciones psicoanalíticas al cuerpo del actor en escena se ubica como un estudio en transversalidad; es decir, se busca contrastar empíricamente las nociones de cuerpo en un grupo de actores chilenos de distintas edades, género y formación, con algunas de las aportaciones teóricas del psicoanálisis. Se intenta dar cuenta de las implicancias subjetivas para los actores de su estar en el escenario. Para ello metodológicamente se recurre al concepto de cuerpo como vehículo de expresión estética, a través del cual se interrogan nociones como lo erógeno, el proceso creador, y cómo este último “trabaja” al artista en tanto sujeto psíquico. Tomando en cuenta las tensiones existentes entre los distintos campos de saber –ciencias sociales, psicoanálisis y el arte- se recurrió a un enfoque metodológico de tipo cualitativo, el cual permitió una articulación con la concepción de sujeto del inconsciente y el lugar del investigador en ello. Por lo mismo, la principal herramienta de recolección y análisis de la información fue humana, es decir el propio tesista. De esta manera, se realizaron entrevistas en profundidad a los actores y actrices seleccionados para el estudio, las cuales fueron analizadas siguiendo los pasos propuestos por la Teoría Fundamentada, implementando a su vez en ello la noción de emergente, el cual se situó como articulación de lo explicitado por los entrevistados y lo que frente a ello surgía en el entrevistador, a modo de acercamiento analítico de los procesos implícitos contenidos en ese encuentro. La investigación finalmente tuvo una duración de un año, luego del cual se pudieron responder a las preguntas inicialmente planteadas, en especial en lo referido a como ese cuerpo erógeno de la obra freudiana se relacionaba con los cuerpos poéticos del arte. De este modo, se evidenció como la composición de subjetividad por parte del artista, deja de manifiesto el inconsciente estético desde el cual surgen saberes como el psicoanalítico y el del arte contemporáneo. Es así, como se llega a una categoría central en el análisis de las entrevistas, en donde el cuerpo es implicado como un campo de alteridad integrativo, desde el cual el artista puede construirse a sí mismo, en un interjuego entre el vacío y su delimitación, entre lo que es adentro y lo que es afuera, entre la forma y el contenido, lo representado y su representante, entre los procesos primarios y secundarios. Dando cuenta de cómo el trabajo del actor le permite componer un cuerpo, tanto en lo referido a reparar o suturar, como a generar otro cuerpo anexo que le permita subsistir en tanto sujeto. Rescatándose el saber hacer con la diferencia, y en especial el estatuto de lo vivo como seres humanos; es decir, las intensidades, lo sublime.
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Uhre, Andreas Nordang. "On Transnational Actor Participation in Global Environmental Governance." Doctoral thesis, Stockholms universitet, Statsvetenskapliga institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-89748.

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Abstract:
The formal access of transnational actors (TNA) to international organizations (IO) has increased steadily over the past five decades, and a growing body of literature is at the moment concerned with the theoretical and normative implications of these developments. However, very little is known as of yet about who the TNAs in global governance are, where they come from, which issue areas they focus on, and when and where they choose to participate. Using analytical tools from interest group theory, in particular a subfield called population ecology, this study describes and explains the chronological development of two populations of TNAs in global governance, namely the observer communities of the United Nations Framework Convention on Climate Change and the United Nations Convention on Biological Diversity. TNAs’ financial resources and their geographical proximity to global governance venues emerge as important factors influencing their capacity to participate, causing these TNA populations to be stratified and volatile.
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