Journal articles: 'Actress'

1

Wiet, Victoria. "The Actress in Nature: Environments of Artistic Development in Victorian Fiction and Memoir." Nineteenth Century Theatre and Film 45, no. 2 (November 2018): 232–53. http://dx.doi.org/10.1177/1748372718823663.

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This essay provides a new approach to reading actress memoirs in light of the influence of environmental thinking on Victorian culture more broadly and acting theory in particular. By demonstrating that actress autobiographies were written within a discursive domain that understood human temperaments and biographical trajectories to be fundamentally shaped by social and physical surroundings, I examine how renowned actresses narrate the conditions within which their temperament developed. In order to do so, I first examine the entanglement of environment and character in novels about actress protagonists in order to develop a framework for analysing the narrative qualities of actress memoirs. This essay focuses specifically on the trope of the ‘wild’ girl who, undisciplined by parents or teachers, develops a sensitive yet wilful and even anti-social temperament that enables her to become an actress praised for her authentic displays of spontaneous emotion.

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Zapperi, Giovanna. "From Acting to Action: Delphine Seyrig, Les Insoumuses, and Feminist Video in 1970s France." Konturen 12 (2022): 24–46. http://dx.doi.org/10.5399/uo/konturen.12.0.4914.

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Mostly known as one of the leading actresses in 1960s-1970s French cinema, Delphine Seyrig was also a media and a feminist activist working collaboratively within the framework of the women’s liberation movement. This article proposes to tackle Seyrig’s involvement in feminist video production the 1970s and explores the continuum she inhabited, from the auteur cinema in which she was actress and muse, to the disobedient practices in which she was video maker, actress and activist. Seyrig’s meditation on her work as an actress, as well as on the patriarchal structures sustaining the film industry, strongly resonates with recent debates prompted by the #metoo movement.

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Syarief, Fauzi, Susana Susana, and Jaqualine Pramanta Putra. "Fenomena Film Dalam Keberagaman Seni Peran dan Budaya." Akrab Juara : Jurnal Ilmu-ilmu Sosial 8, no. 2 (May 5, 2023): 49. http://dx.doi.org/10.58487/akrabjuara.v8i2.2083.

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This research suggests an actor or actress, i.e. how an actor or actress in the role of a local character in a movie that was themed cultural diversity. The researchers used a qualitative research method with the approach of the study of Phenomenology that became a phenomenon and how the experience of an actor or actress in the role of animates to look realistic se maybe. Social construction theory researchers wear property of Peter l. Berger. These studies resulted that in any one actor or role animates actresses observational or should do the work directly into the field in order to adapt to the environment that will be lakoninya later especially in a movie that was themed cultural diversity, with different cultural dipeankan it be a challenge or a valuable experience of an actor or actress himself because it can know how the sense of difference from a variety of cultures

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4

Miquel-Baldellou, Marta. "From Margo Channing to Margaret Elliot: The Aging Actress, Age Performance, and the Dictates of Aging in Joseph Mankiewicz’s All about Eve and Stuart Heisler’s The Star." Athens Journal of Humanities & Arts 10, no. 3 (June 23, 2023): 267–86. http://dx.doi.org/10.30958/ajha.10-3-5.

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Bette Davis played the role of an aging actress in different films throughout her career. In Joseph Mankiewicz’s All about Eve (1950), Davis performs one of her most highly acclaimed parts as Margo Channing, a mature actress who must face the decline of her acting career upon the arrival of a younger and ambitious counterpart. Only two years later, in Stuart Heisler’s The Star (1952), Davis once more played the role of an aging actress, Margaret Elliot, who refuses to accept that her career as an actress has come to an end, thus taking a bleaker approach in comparison with Mankiewicz’s film. Bearing in mind the intertextuality existing between both films, since All about Eve and The Star address the figure of the aging actress and are both considered self-referential films insofar as they are films about the film industry, this article will analyse how these two films address the performance of aging on and off screen, as actresses switch roles between acting younger or older in relation to characters that function as mirrors of aging, and how they eventually come to terms with the dictates of aging and their own aging process as women.

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5

Bonapfel, Elizabeth M. "Reading Publicity Photographs through the Elizabeth Robins Archive: How Images of the Actress and the Queen Constructed a New Sexual Ideal." Theatre Survey 57, no. 1 (December 9, 2015): 109–31. http://dx.doi.org/10.1017/s0040557415000587.

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In this article, I trace the origins of the normalization of pornographic tropes as the new sexual ideal in contemporary visual culture to late nineteenth- and early twentieth-century publicity photos of actresses and monarchs by examining one prominent transatlantic actress's collection of publicity photos, the Elizabeth Robins Papers at the Fales Library at New York University. As I show, around the turn of the twentieth century, a new standard of idealized feminine beauty was produced by the combination of two contradictory images of celebrity: the distant decorum of the monarch and the perceived erotic sexuality of the actress. The mass production of publicity photographs, which took the form of cartes-de-visite in the 1860s and cabinet photos in the 1870s, broadened the spectrum of sexuality by positioning these two quintessential celebrity types—the actress and the monarch—in relation to the tableau vivant and to existing and emerging tropes of portraiture. The image of the actress existed in relation to several mutually dependent discourses in the late nineteenth and early twentieth centuries: the rise of photography in relation to other art forms; the rise of theatrical spectacle in relation to advertising, consumerism, and fashion; the rise of women's public role in relation to sexuality, the body, and beauty culture; and the paradoxical democratization of celebrity culture as related to the monarchy. All of these factors center on a figure who lived so vividly in the public imaginary that she could be found in multiple spaces: on the stage, in stationers’ shops, on postcards, in newspapers, in photograph albums.

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Schweitzer, Marlis. "Assuming the Whore Position: Theatrical Performance and Prostitution." Canadian Theatre Review 134 (March 2008): 77–79. http://dx.doi.org/10.3138/ctr.134.014.

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Kirsten Pullen’s Actresses and Whores: On Stage and in Society explores the long-standing and still-lingering association between theatrical performance and prostitution. Although theatre historians have explored this subject at some length, as seen most prominently in Tracy C. Davis’s Actresses as Working Women, Faye E. Dudden’s Actresses and Audiences, and Katie N. Johnson’s Sisters in Sin, the transnational and transhistorical scope of this engaging book makes it an exciting addition to the field. Indeed, what is perhaps most notable about Actresses and Whores is its methodology. Rather than attempt to write a definitive history of the actress/whore dynamic — a near-impossible and highly problematic project — Pullen offers a series of thoroughly researched “case histories.” Beginning in the Restoration period and continuing to the late twentieth century, she examines key “nodal moments” when public perceptions of the actress/whore figure were in flux and “when a new performance engendered new terms within discourse” (5).

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7

Savage, Elizabeth. "Making Mary: Imitation and Infamy in the Eighteenth-Century Theater." Restoration and Eighteenth-Century Theatre Research 30, no. 1-2 (2015): 73–87. http://dx.doi.org/10.5325/rectr.30.1-2.0073.

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Abstract This essay interrogates how the scandalous actress Mary Wells “shadowed” Sarah Siddons through her imitations of the actress; using performance theory and contemporary reviews, it suggests that these imitations allowed Wells to borrow some of Siddons’ fame at the same time that they exposed the duplicity at the heart of the tragic queen’s performance. The contrast between the simultaneously shifting and transparent Wells and the static and opaque Siddons would have been striking to the audience, as Siddons’ aloof distance from her admirers left a path of access to Wells, who would gladly make herself available instead. Wells also used her imitations to carve out a unique niche for herself as an actress, though those imitations simultaneously created a dependence on the actresses she imitated, ultimately leaving Wells with a marginalized place in theater history.

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8

COLLETT, EMILY. "THEATRE COSTUME, CELEBRITY PERSONA, AND THE ARCHIVE." Persona Studies 5, no. 2 (February 7, 2020): 83–97. http://dx.doi.org/10.21153/psj2019vol5no2art918.

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This essay considers the archived costume in relation to the concept of the celebrity performer’s persona. It takes as its case study the Shakespearean costume of Indigenous actress Deborah Mailman, housed in the Australian Performing Arts Collection. It considers what the materiality of the theatre costume might reveal and conceal about a performer’s personas. It asks to what extent artefacts in an archive might both create a new persona or freezeframe a particular construct of a performer. Central to the essay are questions of agency in relation to the memorialisation of a still living actress and the problematisation of persona in terms of the archived object. Can a costume generate its own persona in relation to the actress? And what are the power dynamics involved in persona construction when an archived costume presents a charged narrative which is very different to the actress’s current construction of her persona?

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9

Schweitzer, Marlis. "“The Mad Search for Beauty”: Actresses' Testimonials, the Cosmetics Industry, and the “Democratization of Beauty”." Journal of the Gilded Age and Progressive Era 4, no. 3 (July 2005): 255–92. http://dx.doi.org/10.1017/s1537781400002656.

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“Actresses as a rule know no more about making themselves beautiful than does the average woman; neither are they naturally more beautiful,” wrote actress Margaret Illington Banes in a 1912 article entitled “The Mad Search for Beauty.” “The truth of the matter is,” she continued, “that no actress—or any woman—can impart the secrets of beauty to another, any more than the rich man can impart the secrets of business success to some other man.” Disturbed by recent trends in the theatrical profession that required actresses to present themselves as “beauty specialists,” Banes sought to expose the constructed nature of their on- and offstage performances. Stage stars captivated audiences because they had numerous opportunities to appear onstage dressed in the height of style; “under the same circumstances,” she concluded, most women “would look quite as well.”

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10

Martínez-García, Laura. "Nelly or Ellen? Revamping the first English actresses in contemporary popular culture." Sederi, no. 27 (2017): 213–28. http://dx.doi.org/10.34136/sederi.2017.10.

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The first British actresses have been the focus of extensive scholarly study, transposing the boundaries of academic life and irrupting in popular culture and becoming a part of the public imagination and folklore. This paper studies the perception we have inherited of “Pretty, Witty Nell,” probably the best-known actress of the Restoration, through the analysis of two novels—Priya Parmar’s Exit the Actress and Gillian Bagwell’s The Darling Strumpet—that reconstruct Gwyn’s life turning the “Protestant Whore” into a learned lady and a devoted mother. This revamping of her figure not only entails the erasure of the subversive potential of actresses’ break with the public-masculine/private-feminine dichotomy, but it also works as an attempt at neutralizing the threat that these “public” women pose to the gender roles that became normative in the seventeenth century and that are still seen as such nowadays.

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11

Hankey, Julie. "Body Language, the Idea of the Actress, and Some Nineteenth-Century Actress-Heroines." New Theatre Quarterly 8, no. 31 (August 1992): 226–40. http://dx.doi.org/10.1017/s0266464x00006850.

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The actor, as a reminder of personal mutability, has always provoked the condemnation of absolutist philosophers and churchmen. Historically, this anti-theatrical prejudice has pressed even harder on the actress, for in her case ‘personal’ connotes sexual mutability. In Victorian times, when purity was enjoined on Woman for Man's sake as well as her own, the actress's situation was further complicated. In the following article, Julie Hankey examines the treatment of actress-characters in certain novels of the nineteenth century – Wilkie Collin's No Name, Geraldine Jewsbury's The Half-Sisters, George Eliot's Daniel Deronda, and Henry James's The Tragic Muse, among others – exploring in particular their peculiarly physical system of representation, a system which reproduced the social and moral attitudes of the day on a more visceral level of irrational prejudice. Irrespective of their artistry or sympathies, authors were remarkably consistent in their use of the same relatively narrow but at the same time powerful range of signals – dress, pose, interiors, gardens, flowers, and so on – clearly confident that by this means the actress could be adequately expressed. Julie Hankey is presently co-editor of the ‘Plays and Performance’ series, now published by Cambridge University Press, and has herself prepared the individual volumes on Richard III and Othello.

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12

Grime, Helen. "Gwen Ffrangcon-Davies: ‘Ethereal from the Waist Up and All Welsh Pony Down Below’." New Theatre Quarterly 27, no. 3 (August 2011): 203–14. http://dx.doi.org/10.1017/s0266464x1100042x.

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In this article Helen Grime examines the enduring epithet of ethereality and its persistent connection to the career of the actress Gwen Ffrangcon-Davies (1891–1992). Most closely associated with her portrayal of Etain in the much revived musical drama The Immortal Hour, ethereality is understood as a signifier of 1920s femininity. The offstage presentation of a domesticated femininity further evidences the apparent conventionality of this actress's self-presentation at a time of particular anxiety about the socio-political position of women. These notions of femininity hint at the prevailing social attitudes that confronted an actress whose on- and offstage appearances were subject to public scrutiny while her private lesbian identity remained obscured. It is suggested, however, that Gwen Ffrangcon-Davies's playful negotiation of her demonstrably fragmented identity evidences an agency and self-possession belied by her public conformity. Helen Grime completed her thesis, A Strange Omission: Gwen Ffrangcon-Davies, Twentieth-Century Shakespearean Actress, in 2008 and is currently a Lecturer in Drama at the University of Winchester.

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13

Granzer, Susanne Valerie. "'The Shadow of One’s Own Head' or The Spectacle of Creativity." Performance Philosophy 3, no. 3 (December 21, 2017): 685. http://dx.doi.org/10.21476/pp.2017.33151.

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When acting, the actor/actress experiences a complex regime of signs in his/her body, mind, mood and gender. These signs are both disturbing and promising. On the one hand, the act of creativity makes a wound obvious which has been incarnated within man. It tells him/her that he/she is not the sole actor of his/her actions. On the other hand, precisely this way acting on stage becomes an event. The act of this event reveals a way of be-coming in which one acts while at the same time being passive, in which the actor/actress is both agent and patient of his/her own performance. This complex artistic experience catapults actors/actresses into an open passage, into an in-between where they are liberated from the illusion of being the sole actors of their performances. One might even say that by this turn an actor/actress experiences a change, an “anthropological mutation” (Agamben). Or, to have it differently: the artist suffers a kind of “death of the subject”.It is remarkable that this loss of the predominance of subjectivity is a crucial aspect of acting which may affect the audience in a particularly intensive way. Why? Perhaps because it updates an extremely intimate connection between audience and actors/actresses which vicariously reflects the in-between of life and death. A passage by which life presents itself as itself? Life – by its plane of immanence?

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14

Malik, Sabreena. "An OSCE actress." BMJ 332, no. 7542 (March 18, 2006): s110. http://dx.doi.org/10.1136/bmj.332.7542.s110.

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15

Price, Adam O’Fallon. "The Famous Actress." Colorado Review 50, no. 2 (June 2023): 33–49. http://dx.doi.org/10.1353/col.2023.a902693.

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16

Roguska, Julia. "Od Połtawy do Odessy. Wiera Chołodnaja – fenomen gwiazdy kina niemego." Studia Ucrainica Varsoviensia 5, no. 5 (May 8, 2017): 0. http://dx.doi.org/10.5604/01.3001.0009.9118.

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This article introduces the profi le of Vera Kholodnaya – a silent fi lm actress. The work of the artist, once regarded as one of the biggest stars of the Russian cinema, today is somewhat forgotten. One of the causes of Kholodnaya’s achievements is the fact that most of the fi lms with her participation have not survived to our times. After Bolsheviks came to power, the legacy of the actress, like that of many other fi lmmakers of the pre-revolutionary era, sank to oblivion. The article is an attempt to outline the most important stages of Kholodnaya’s life and artistic activity. The author focuses on the Ukrainian context of the actress’s life, which is usually ignored by researchers in their analysis. Most of them consider Kholodnaya solely a Russian actress (due to the fact that she was featured primarily in the Russian fi lm production). Her adherence to the Ukrainian culture is not only proved by her origin. The evidence of her emotional attachment to Ukraine is also proved by the fact that the last year of her life she spent in Kiev, Kharkov and Odessa performing in the theatre and cinema. The article analyses the causes of Kholodnaya’s popularity phenomenon who is often compared to today’s famous fi lm stars. This paper is an attempt to show the actress not only as «the queen of the screen» (as she was perceived by her contemporaries), but also as a remarkable woman, the inspiration for directors, actors and multitude of her admirers, for whom she was a role model.

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Pettersson, Lin Elinor. "The Music-Hall Actress and Transcending Femininity in the Victorian Public Sphere. A Re-Orientation of Her Moral Status." Clepsydra. Revista de Estudios de Género y Teoría Feminista, no. 22 (2022): 95–110. http://dx.doi.org/10.25145/j.clepsydra.2022.22.05.

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The actress, like the prostitute, was one of the female figures who in the nineteenth century bore a certain social stigma for being professionally active in public and non-domestic roles that were considered vulgar and immoral. This prejudiced view is indebted to the ideology of separate spheres, which has proven to be both class-bound and unstable. While critics as Davis (1991) and Kift (1996) have questioned the overgeneralised association between actresses and prostitutes, feminist scholars have challenged the strict separation of gendered spheres, and argued for the instability and fluidity of this spatial divide. Taking this as a starting point, this essay addresses the Victorian popular actress from a feminist perspective to explore the transcendental role she had in music-hall culture. I will explore how this popular entertainment developed from a working-class culture and question the applicability of bourgeoise values and the ideology of separate spheres to the music hall. In doing so, I hope to shed new light over the music-hall actress as a working woman demonstrating that she was better esteemed than previously admitted, and argue that she turned the music hall into a space of self-fulfillment though subversion and transcendence of female roles

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18

Ohlsson, Hélène. "Representing Pariah Femininity. Sexuality, gender, and class at the fin-de-siècle." Nordic Theatre Studies 29, no. 1 (December 27, 2017): 44. http://dx.doi.org/10.7146/nts.v29i1.102967.

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This article discusses the representation of an actress’s sexuality, femininity, and class at the fin-de-siècle with an emphasis on pariah femininity. The central empirical sources for this study are the correspondence between King Oscar II (1829-1907) and Baroness Henriette Coyet (1859-1941) about the famous actress Ellen Hartman (1860-1945). Tracy C. Davis’s feminist historiographical methodology is put to use in the analysis in combination with Mimi Shipper’s notion pariah femininity. The analysis of the correspondence shows how the actress Ellen Hartman’s femininity was discursively constructed as pariah femininity embodying asexuality, excessive sexuality, and of a degenerate moral. It is argued that Hartman’s specific kind of pariah femininity is based on a perceived threat triggered by her public profession, sexual history and social ambition. Her body was sexualized, her sexuality demonized, and her appearance downgraded to defuse the threatening presence of her profession, femininity, and class. The historical sources also show a change of attitudes toward intersections of femininities and class.

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Ohlsson, Hélène. "Representing Pariah Femininity. Sexuality, gender, and class at the fin-de-siècle." Nordic Theatre Studies 29, no. 1 (January 27, 2018): 44. http://dx.doi.org/10.7146/nts.v29i1.103308.

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This article discusses the representation of an actress’s sexuality, femininity, and class at the fin-de-siècle with an emphasis on pariah femininity. The central empirical sources for this study are the correspondence between King Oscar II (1829-1907) and Baroness Henriette Coyet (1859-1941) about the famous actress Ellen Hartman (1860-1945). Tracy C. Davis’s feminist historiographical methodology is put to use in the analysis in combination with Mimi Shipper’s notion pariah femininity. The analysis of the correspondence shows how the actress Ellen Hartman’s femininity was discursively constructed as pariah femininity embodying asexuality, excessive sexuality, and of a degenerate moral. It is argued that Hartman’s specific kind of pariah femininity is based on a perceived threat triggered by her public profession, sexual history and social ambition. Her body was sexualized, her sexuality demonized, and her appearance downgraded to defuse the threatening presence of her profession, femininity, and class. The historical sources also show a change of attitudes toward intersections of femininities and class.

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20

Heather, Jane. "Women’s Circle: Women’s Theatre." Canadian Theatre Review 69 (December 1991): 5–14. http://dx.doi.org/10.3138/ctr.69.001.

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This article is based upon individual interviews conducted by Wendy Philpott with each member of Catalyst Theatre’s Women’s Circle Collective: Marilyn McLean, Community Co-ordinator for Catalyst Theatre, actresses Patricia Darbasie and Patricia Drake, actress and animator fane Heather, director fan Selman, researcher and dramaturge Lise Ann Johnson and writer Shirley Barrie. The article was written by fane Heather and fan Selman with assistance from Lise Ann Johnson and Wendy Philpott.

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Naturel, Mireille. "Marcel Proust : la Berma, figure de l’artiste, figure maternelle." Studia Universitatis Babeş-Bolyai Dramatica 65, no. 2 (October 30, 2020): 203–20. http://dx.doi.org/10.24193/subbdrama.2020.2.10.

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"Marcel Proust : The Berma, Actress’ Figure, Motherhood’s Character. La Berma is an actress in Proust’s novel À la recherche du temps perdu. Her main model is Sarah Bernhardt and she has the same beautiful voice, a golden voice. Both of them are famous for their role of Phèdre in Racine’s drama. Theatre represents firstly a family matter and a social challenge. The child discovers theatre outside theatre where he is not allowed to go, that is on posters from the Morris column. And the first approach is semiotic. Theatre is included in narration, through two performances that the hero attends. With them, we have an image of theatre in the 19th century, from a sociological and artistic point of view. In the first one, theatre is considered as a low art and actresses are immoral women. Theatre is a cruel world which leads from glory to death, brings rivalry between actresses. In the latter, theatre is above all a text; Proust is interested in gesture and costume. He is focused on the quality of interpretation in comparison with the role. He shows that interpretation is a real art, which can be compared to painting and music. Keywords: art, gesture, interpretation, verse, voice, Phèdre, Proust, Sarah Bernhardt."

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Decker, Michael J. "Theodora: Actress, Empress, Saint." History: Reviews of New Books 45, no. 1 (December 12, 2016): 8–9. http://dx.doi.org/10.1080/03612759.2017.1255010.

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Cameron, Averil. "Theodora: Actress, Empress, Saint." Common Knowledge 23, no. 2 (April 2017): 348.1–348. http://dx.doi.org/10.1215/0961754x-3815906.

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Novak, Deborah. "What every actress knows." Women & Performance: a journal of feminist theory 6, no. 2 (January 1993): 85–91. http://dx.doi.org/10.1080/07407709308571183.

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Villot, Janine. "Chasing the Millennium Actress." Science Fiction Film & Television 7, no. 3 (January 2014): 343–64. http://dx.doi.org/10.3828/sfftv.2014.20.

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Hutubessy, Josina Irene Brigetha. "PENGGUNAAN METODE SAMBUNG SAMPING PADA BEBERAPA KLON KAKAO (Theobroma cacao L.) SEBAGAI SUMBER BAHAN TANAM." AGRICA 13, no. 1 (June 24, 2020): 77–86. http://dx.doi.org/10.37478/agr.v13i1.380.

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Side grafting technology, side grafting is a cocoa plant improvement technique that is done by inserting the stem of superior clones. This study aims to determine the effect of Janis entries on the side grafting growth of cocoa plants and the types of good entries in the growth of side grafting cacao plant.The plan used in this study was a randomized block design (RBD) with treatments used were local clone actress (E1), superior clone actress ICCRI 03 (E2), superior clone actress ICCRI 04 (E3), Sulawesi superior clone 01 (E4) ), Superior actress of Sulawesi Clone 02 (E5). The observational variables in this study were the percentage of survival, total plant leaves, plant area. The results of the study aimed that the treatment of superior clone entries had an effect on the observed variables of survival rates, total number of leaves of plants, leaf area. The type of entris that gives the best effect on the side grafting growth of cacao plant seeds is the superior Sulawesi clone actress 02.

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J, Rini Afrilesa. "Flouting Maxim of Quality in Situational Comedy ‘Lapor Pak’." Jurnal Ilmiah Langue and Parole 6, no. 1 (December 1, 2022): 27–31. http://dx.doi.org/10.36057/jilp.v6i1.550.

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This research conducted on flouting quality maxim uttered by the actors and actress in the Lapor Pak Comedy. The problems of the research are: (1) What floutings forms of quality maxim are gone through by the actors and actress in Lapor Pak Comedy? (2) What are the reasons of the actors/actress flouted the maxims of quality? The purposes of this research are: (1) To identify forms of flouting quality maxims sustained by actors/actress in Lapor Pak Comedy (2) To describe the contextual meanings which are used by the actors/actress who flouted the maxims of quality. Descriptive qualitative method had been used in this research. This research used theory of Grice (1975). The results of this study are as follows that there 13 data have found and flouting quality maxim divided into four forms. They are Flouting maxim quality in Mocking dialogue, Flouting maxim quality in Wordplay dialogue, Flouting maxim quality in Babble dialogue, and Flouting maxim quality in Accuse Without Evidence dialogue. The reason that was flouting quality maxim often used in this comedy is giving humor.

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Yakubova, Natalia. "Behind the Scenes: Theatre Women Write to Literary Men." New Theatre Quarterly 32, no. 3 (June 30, 2016): 210–30. http://dx.doi.org/10.1017/s0266464x16000208.

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In this article Natalia Yakubova explores the interactions between theatre and literature as between an actress on one side and a man of letters on the other. The interactions discussed here came at a particular historical moment, when the transition from an actor-centred to a director-centred hierarchy was taking place, and the article deals with the letters written by actresses to the men who were playwrights and/or theoreticians of the new theatre: Eleonora Duse writing to Gabriele D’Annunzio, Vera Komissarzhevskaya to Valery Bryusov, Irena Solska to Jerzy Żuławski, and Gertrud Eysoldt to Hugo von Hofmannsthal. In each case study, attention is paid to the characteristics of the relationships between a given actress and a particular writer, their attitudes towards theatre reform, the way in which the actresses evaluated the literary status of their letter writing, and, significantly, the stylistic features of their writing. Natalia Yakubova is a senior researcher of the State Institute of Art Studies in Moscow, and was Marie Curie Fellow at the Institute of Literary Studies of the Polish Academy of Sciences between 2013 and 2015. She is author of O Witkacym (2010) and Teatr epokhi peremen v Polshe, Vengrii i Rossii 1990-ye–2010-ye (2014), and has published numerous articles in Russia, Poland, the USA, and Canada, among other countries.

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Guizhi, Yan. "Redefining “Actress”--Deconstruction of the Traditional “Actress” Image in Jia Ling’s Sketch “Titanic”." International Journal of Literature and Arts 8, no. 2 (2020): 93. http://dx.doi.org/10.11648/j.ijla.20200802.19.

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Nguyen, Bernard. "Theatre in Québec: A Test Of Perseverance." Canadian Theatre Review 110 (March 2002): 23–25. http://dx.doi.org/10.3138/ctr.110.006.

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For the first time in Quebec, a Chinese-born actress is making her way to the major leagues. Aimee Lee played Ling, the Asian maid, in the TV series Cauchemar d’amour, which screened on TVA last fall. Appearing on the TV screen is the ultimate goal for most French Canadian actors and actresses. Lee was so impressive in her debut that a local TV critic compared her to a feminine version of Kato, the famous servant in the Pink Panther films.

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Jayanti, Elvira Eka, Nova Indriani, Vera Febrianti, An’nisa Purnama, and M. Afifulloh. "Racism in the film The Little Mermaid: Assessing its impact on social media." Loquēla (Journal of Linguistics, Literature, and Education) 2, no. 1 (February 1, 2024): 22–28. http://dx.doi.org/10.61276/loqula.v2i1.29.

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The controversy surrounding the casting of Halle Bailey, a black actress, as Ariel in the live-action adaptation of "The Little Mermaid" has sparked discussions about racism and representation in the media. Some people have rejected the idea of a black actress playing the role of a character who was initially depicted as white. The controversy highlights the ongoing struggle for representation and diversity in the entertainment industry. This research aims to see how people respond to the film The Little Mermaid in real life with a black main character. The Little Mermaid, a Disney classic, has been controversial due to the casting of a Black actress, Halle Bailey, as Ariel in the upcoming live-action remake. Some people have refused to accept a Black actress like Ariel, which illustrates how a white-centric perspective requires a more profound understanding. The backlash against the movie has led to abysmal box office numbers in China and South Korea, showing the global reach of anti-Blackness. However, the importance of representation in media has been highlighted, and casting a Black actress as Ariel is seen as a positive step towards diversity and acceptance. The negative attention on The Little Mermaid has fueled a groundswell of support from other fans who view such anger as founded in racism.

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Davis, Tracy C. "The Actress in Victorian Pornography." Theatre Journal 41, no. 3 (October 1989): 294. http://dx.doi.org/10.2307/3208182.

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Prosperi, Mario. "Marina Confalone: A Neapolitan Actress." Drama Review: TDR 29, no. 4 (1985): 13. http://dx.doi.org/10.2307/1145686.

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Karlin, Susan. "Careers: Denee Busby: technical actress." IEEE Spectrum 45, no. 6 (June 2008): 25. http://dx.doi.org/10.1109/mspec.2008.4531451.

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Kelly, Gillian. "Vivien Leigh: Actress and Icon." Historical Journal of Film, Radio and Television 39, no. 2 (October 30, 2018): 414–16. http://dx.doi.org/10.1080/01439685.2018.1524554.

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Griffith, James D., Lea T. Adams, Christian L. Hart, and Sharon Mitchell. "Why Become a Pornography Actress?" International Journal of Sexual Health 24, no. 3 (July 2012): 165–80. http://dx.doi.org/10.1080/19317611.2012.666514.

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Jobling, Mark A. "The bishop and the actress." Investigative Genetics 3, no. 1 (2012): 27. http://dx.doi.org/10.1186/2041-2223-3-27.

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Ramadhani, Sri Rahayu, and Titus Soepono Adji. "TOKOH PENDUKUNG SEBAGAI TANDA PENGUAT PESAN PADA FILM TALAK 3." Texture:Art and Culture Journal 1, no. 1 (December 13, 2018): 69–83. http://dx.doi.org/10.33153/texture.v1i1.2235.

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Supporting actors and supporting actresses in films have an important influence on the course of the story. Their presence is able to strengthen the messages conveyed through scenes in the film. The formulation of the problem of this research is how to read the supporting cast as a message reinforcement on the film Talak 3. Film Talak 3 by Hanung Bramantyo and Ismail Basbeth tells the story of the desire of a divorced couple to reconcile. The supporting figures in the film Talak 3 were used as the focus of the study. The study was conducted using a type of qualitative descriptive research, while the approach method applied the semiotic theory of Roland Barthes to analyze the supporting characters who had the role of signaling the message in the scene. The results of this study show that the budhe Ratna as a supporting actress strengthens the message using marriage life and the meaning of true love that appears throughout the film. Messages related to bureaucracy in government agencies are strengthened by the presence of figures Basuki, Hasmi, Jonur and Ical.Keywords: message, supporting actor and actress, Roland Barthesâ€™s semiotics, Film Talak 3

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Rosa-Lavrentii, Sofiia. "Ukrainian Theater Actresses in Eastern Galicia." Pamiętnik Teatralny 69, no. 3 (November 11, 2020): 151–70. http://dx.doi.org/10.36744/pt.441.

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This article offers a typology of the experiences of Ukrainian theater actresses in Eastern Galicia from the end of the 19th to the first half of the 20th centuries, identifying the most common artistic and biographical trajectories that make up the particular continuities of women’s collective cultural experience. The “images” of these Ukrainian actress are delineated according to how they were constructed by the contemporary Ukrainian press, and their peculiarities are identified in accordance with the specifics of the activities of Ukrainian theater in Eastern Galicia during the period in question. (Transl. S. Harbuziuk)

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Bulysheva, Elena V. "V.N. Chuvakov. My Meetings and Correspondence with Elena Aleksandrovna Polevitskaya (1958–1968)." Literary Fact, no. 22 (2021): 146–63. http://dx.doi.org/10.22455/2541-8297-2021-22-146-163.

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The published diary entries of the famous literary critic and bibliographer V.N. Chuvakov are devoted to his meetings with the actress E.A. Polevitskaya in 1958–1961. In the text there is an image of an actress who was extremely popular in the 1910s, who had a long and difficult creative path, but still needed theater and acting. From Polevitskaya’s memoirs about her theatrical activity and about the theater of the early 20th century Chuvakov builds the main plot for him, associated with the name of Leonid Andreev. Fragmentary, inconsistent, but vivid, the actress’ memories about her creative relationships and personal meetings with Andreev complement our ideas about the writer, bring new shades to the picture of theatrical and artistic life of the early 20th century. The publication includes a letter from Polevitskaya to prof. K.I. Platonov, the author of a “forensic psychopathological study” on Andreev’s play “Ekaterina Ivanovna.” In the letter, the actress expounds her original, deep interpretation of the image of the mysterious and attractive Ekaterina Ivanovna and the motivation for her actions. Chuvakov's notes create an idea of Polevitskaya as an actress, capable of seriously, analytically approaching work on the role, delving deeply into the author's intention, which makes the diary's author's conclusion reasonable: Polevitskaya is the best Ekaterina Ivanovna (the heroine of Andreev's play).

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BOWDITCH, ISOBEL. "Inter et Inter: A Report on the Metamorphosis of an Actress." PhaenEx 4, no. 1 (May 5, 2009): 30. http://dx.doi.org/10.22329/p.v4i1.611.

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In 1847, Johanne Luise Heiberg, a thirty-year old Danish actress and friend of Søren Kierkegaard, performed the role of Juliet in Shakespeare’s Romeo and Juliet in the Copenhagen theatre. She had played Juliet once before, aged 16, and it was this first performance which helped to launch her prestigious career. The 1847 performance prompted Kierkegaard to write an article for the newspaper Fædrelandet, called 'The Crisis and a Crisis in the Life of an Actress' under the name of Inter et Inter. Its publication contradicted Kierkegaard’s resolve to cease his literary authorship and to write directly under his own name as a religious author. This essay shows what was at stake for Kierkegaard in publishing 'The Crisis and a Crisis in the Life of an Actress' and its pivotal status for him both as a writer and a Christian. Both ‘crises’ of the title refer to a metamorphosis as a return to ‘the beginning’ effected through a series of elliptical characters: the actress, Juliet, Inter et Inter, Kierkegaard himself and the reader. Kierkegaard’s commentary on Frau Heiberg’s performance of Juliet brings together categories of repetition and anxiety in order to understand how “the metamorphosis of the actress” is effected as a return to the 'beginning', mirroring Kierkegaard's own transition from 'literary' to 'religious' writer and ultimately reflecting back on the reader’s own condition as existing individual.

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Lips, Adrián, Dorottya Mátravölgyi, and Bettina Sztruhár. "A posztháborús állapot reprezentációja Szeleczky Zita sajtómegjelenéseiben, népbírósági perében és magánlevelezéseiben." Symbolon 23, no. 2 (2022): 87–108. http://dx.doi.org/10.46522/s.2022.02.8.

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From 1936 to 1944, the Hungarian star world created a unique tabloid environment in both the print press and film production. Zita Szeleczky (1905–1999), one of the most popular Hungarian actresses of the 1930s and 1940s, was on the one hand called the little sister of the nation, and on the other hand, politically stigmatised on several occasions for her clumsy career planning and self-expression. The latter was due to the fact that, from the first years of the Second World War onwards, the actress made a number of objectionable decisions out of naivety, vanity or resentment. Her death was reported in the printed press and she was condemned as a war criminal in absentia. In the present study, we have not sought to comment on any of this, but have merely supplemented the factual information available in the press and in the People’s Court documents with relevant details from the private correspondence of 1946 and 1947, which illustrate the experiences and opinions of the actress and her colleagues. Zita Szeleczky’s career and fate were shattered, and she had to start her life anew during the post-war years. As a result of our research, it can be concluded that the main details of the actress’s character assassination were drawn from the antecedents of Zita Szeleczky’s People’s Court trial, from the articles examined in chronological order in 1945 and from the trial material. In addition, the post-war condition is reflected in several examples of Zita Szeleczky’s private correspondence from the period under study. Following her character assassination, her break with fate – the trauma she had suffered – she must have continued to fear that Italy would extradite her to Hungary and would have to execute her sentence. She also tried, partly with her colleagues and partly on her own, to launch her international career, which was not initially very successful, mainly due to post-war tensions in 1946 and 1947.

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Wanko, Cheryl. "Mary Morein (fl. 1707): Drury Lane Actress and Fair Performer." Theatre Survey 32, no. 1 (May 1991): 22–30. http://dx.doi.org/10.1017/s0040557400009431.

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In 1708 an actress named Mary Morein filed a bill of complaint in the Court of Chancery against William Pinkethman. Morein's name appears nowhere in The London Stage, and there is no entry for her in the Biographical Dictionary. Other than the lawsuit testimony by and against her, I am aware of no evidence about her. Thus the lawsuit is of interest because it documents the existence of an otherwise unknown performer at a stormy time in the history of the London theatre. Perhaps more important, however, it contains significant factual evidence about the employment conditions of minor actresses, and gives specific figures for what such a person might earn by performing at the Fairs.

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Hrvatin, Varja. "What’s that blinking line in Word called again?" Maska 35, no. 200 (September 1, 2020): 25–27. http://dx.doi.org/10.1386/maska_00026_1.

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The entire monologue is a transcription of the inner train of thought narrated by a woman’s voice in medias res while watching and listening to three minutes of the film Koyaanisqatsi. We don’t see the actress; we only hear her. The only thing we see is a three-minute excerpt from the film, which the actress can play on her phone or computer, recording the screen and the sound with her phone (live) at the same time (instead of recording herself, the actress records the screen with sound). The interpretation should be very brisk, hurried, internalised, contemplative yet neurotic, almost hysterical and, above all, colloquial – i.e. spoken in the lowest possible register.

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전지니. "A Study on Actress Kim Soyoung : a scandal maker and actress between ‘Nation’ and ‘People’." Journal of Korean drama and theatre ll, no. 36 (June 2012): 79–111. http://dx.doi.org/10.17938/tjkdat.2012..36.79.

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Rant, Tjaša. "A Slovenian Actress of Russian Origin – Maria Nablotskaya." Monitor ISH 17, no. 1 (September 11, 2015): 79–101. http://dx.doi.org/10.33700/1580-7118.17.1.79-101(2015).

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Russian actress Maria Nikolaevna Borislavska, better known as Maria Nablotskaya, was carried by love and an emigration wave to Ljubljana in 1922, where she became a member of Ljubljana’s Drama Theatre after her very first performance. With the help of her second husband, actor and director Boris Putyata, she transferred the knowledge acquired in Russian imperial theatres to the Slovenian territory, where she further developed her talent. Her acting was modern and direct, and her most outstanding roles were those of psychologically realistic tragic and tragicomic female characters. Her humorous gift, on the other hand, was given free scope in European Renaissance comedies. The purpose of this text is to present the career of Maria Nablotskaya from its promising, affluent, carefree beginnings to the great actress’s final years spent in a cramped room, as well as to outline her rich legacy to the Slovenian theatre.

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Kem, Tatiana E. "THE IMAGE OF SARAH BERNHARDT IN THE FRENCH ILLUSTRATED PRESS OF 1870-1920." Articult, no. 3 (September 30, 2023): 62–96. http://dx.doi.org/10.28995/2227-6165-2023-3-62-96.

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This study is devoted to the reflection of the image of Sarah Bernhardt, the greatest French actress of the second half of the 19th - early 20th centuries. Her pictorial, photographic and sculptural portraits are widely known and very well studied. However, the iconography of her image on the pages of the satirical illustrated press in France remains little known. The purpose of the article is to identify and analyze the stable images of Sarah Bernhardt, developed by cartoonists of the Third Republic, viewed through the prism of the anti-Semitic discourse that took place in France at that time, and the use by artists of the principles of zoomorphism in cartoons. Careful selection of the most significant masterpieces of magazine illustration made it possible to identify the main approaches to the image of the great actress, as well as to demonstrate the features of the public and artistic reception of Sarah Bernhardt. This allowed to underline such stable methods in constructing the caricatural image of the actress, as: ridiculing the Jewish origin of Sarah Bernhardt, focusing the viewer's attention on her excessive thinness, zoomorphizing her image, mockering the private, public, theatrical and creative life of the actress.

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Ljubić, Lucija. "Eliza Gerner; Croatian theatre; autobiographic prose; memoirs; cultural memory." Radovi Zavoda za hrvatsku povijest Filozofskoga fakulteta Sveučilišta u Zagrebu 55, no. 1 (December 20, 2023): 183–97. http://dx.doi.org/10.17234/radovizhp.55.11.

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Eliza Gerner (Sombor, 1920 – Zagreb, 2013) is the first Croatian actress to publish her memoirs. The paper contextualises eight memoirs by Eliza Gerner within the genre characteristics of autobiographic prose. Gerner’s memoirs are social memoirs rooted in the author’s polydiscursivity and fragmentary self-representation. The paper then explores the memoirs, focusing on specific topics: Gerner’s professional engagement, the life and work of Tito Strozzi, her association with Bela and Miroslav Krleža and portraits of Croatian actresses. The analysis focuses on Gerner’s discourse on the status of women and specifically actresses in the 20th century, which reveals Gerner’s partial reinterpretation of the history of Croatian theatre, and establishes her books as a contribution to cultural memory in Croatia. Martina Petranović Dinka Jeričević – the Iron Lady of Croatian Stage Design Dinka Jeričević – Željezna dama hrvatske scenografije

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Brooks, William, and P. J. Yarrow. "A Note on La Champmeslé and Mlle Desmares." Theatre Research International 19, no. 1 (1994): 67. http://dx.doi.org/10.1017/s0307883300018824.

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In our article ‘Neglected evidence about the actor Michel Baron (1653–1729)’, which appeared in Theatre Research International, 18, 3 (1993), 173–76, we quoted a letter from Madame to Baron Von Hading (foot of p. 174). Madame refers to the actress Mlle Desmares, a prominent member of the French company in the early eighteenth century. The first part of the quotation was as follows:He did not think of it after the death of the king, but la Desmares [an actress of the Comédie-Française], perceiving that no one was going to see them any more, came to the conclusion that they would fare better if Baron were back in the company, and she persuaded him.The king died in 1715, and the incident described occurred in, or shortly before, 1720.After the proofs were corrected and returned, an error crept in which dismayed us greatly. Our parenthesis, ‘an actress of the Comedie-Française’ was replaced by another: ‘better known as la Champmesle’. We did not sanction this amendment, and it is wrong. So much so, in fact, that it looks like carelessness and ignorance on our part, the apprehension of which may tell against acceptance of our findings and objective critical appreciation of our conclusions. We are therefore most grateful to the Editor for allowing us to insert this correction, which we believe to be important.The actress known as La Champmeslé, Marie Desmares, died in 1698. She was the wife of the actor Champmeslé, whose name she took, and she was probably the greatest actress of her generation; she was also the celebrated mistress of Racine.

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Rodríguez De León, Rolando José. "Millennium Actress. Una mirada en profundidad." Con A de animación, no. 3 (February 18, 2013): 158. http://dx.doi.org/10.4995/caa.2013.1436.

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Análisis narratológico, gráfico, histórico y culturalde Millennium Actress, segunda película del directorSatoshi Kon y que se conformará en piedra angularpara comprender su forma de trabajo, técnicas yaspectos psicológicos que desarrollará en sus futurascreaciones. En un acercamiento no solo a la historiay cultura de Japón, sino también de su cinematografía,el artículo explora de forma sencilla los aspectosmuchas veces desconocidos para los occidentales dela cultura nipona, presentando los más relevantes dela película, de manera que permitan al lector un acercamientoa las formas de representación utilizadas anivel gráfico y cultural por su director.

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Journal articles on the topic 'Actress'

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