Journal articles on the topic 'Improvisation (acting)'
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1
Yucha, C. B. "Understanding physiology by acting out concepts." Advances in Physiology Education 269, no. 6 (December 1995): S50. http://dx.doi.org/10.1152/advances.1995.269.6.s50.
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Typically, classes in anatomy and physiology are taught via lecture and visual aids. This seems to work well for students who are primarily auditory and visual learners but not for those who learn better through kinesthetic experiences. This is the first report describing the use of improvisation to act out physiological concepts within an anatomy and physiology course. Improvisational techniques encourage active participation and allow students to personally interact with and experience difficult concepts in the classroom. In this paper, sensory modality preferences for learning will be discussed briefly. Improvisational techniques will be described, and examples of improvisations useful to convey intricate physiological concepts will be provided. Last, student responses to the use of improvisational techniques in an anatomy and physiology course will be reported.
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Irianto, Ikhsan Satria, Indra Gunawan, Lusi Handayani, and Tofan Gustyawan. "Abdul Muluk Improvisation Techniques in the Warung Kajang Lako Program on TVRI Jambi." Mudra Jurnal Seni Budaya 39, no. 2 (April 29, 2024): 144–57. http://dx.doi.org/10.31091/mudra.v39i2.2632.
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One of the characteristics of traditional Indonesian theater, including Abdul Muluk Jambi, is that the performances rely on the improvisational abilities of the actors. Therefore, improvisation techniques are an essential element in traditional Indonesian theater acting, especially the Abdul Muluk Jambi theater. One of the theater groups that is intense in developing improvisation techniques based on Abdul Muluk's improvisations is Sanggar Pancarona Jambi. This research was conducted to find patterns of improvisational acting techniques in the Abdul Muluk performance by Sanggar Pancarona Jambi. The material object of this research is the performance of Abdul Muluk by Sanggar Pancarona which was broadcast on TVRI Jambi in the Warung Kajang Lako program. This event featured Abdul Muluk's appearance with a shortened duration. The selection of this object was based on the characteristics of the Abdul Muluk performance by Sanggar Pancarona which prioritizes the power of actor improvisation. To find patterns in Abdul Muluk's improvisation techniques, the research method used was a qualitative method with stages, observation, interviews and data analysis. The results achieved from this research are that Sanggar Pancarona Jambi uses improvisation techniques adopted from the Abdul Muluk Jambi theater. Abdul Muluk's improvisation technique which was applied at the Warung Kajang Lako TVRI Jambi event consisted of: Improvisation Rules, Building Agreement, Creating and Saying Topics, Creating Collective Imagination, Division of Tasks, Setting Timings, Starting from Introductions and Interacting with the Audience. The supporting element for Abdul Muluk's improvisation is music that is improvised in response to the actor's improvisation.
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Kozodaev, Pavel I., and Ekaterina K. Titova. "Pedagogical factors of formation of improvisational acting skills in amateur theatre." Psychological-Pedagogical Journal GAUDEAMUS, no. 47 (2021): 21–30. http://dx.doi.org/10.20310/1810-231x-2021-20-1(47)-21-30.
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We consider some issues of modern society related to the growing trend of social and emotional isolation of the individual, changes in their worldview, leading to the degradation of thinking and intellectual abilities. There is need to search for psychological and pedagogical ways, means and methods to activate the intellectual, emotional and creative development of the individual. A possible way to solve the identified social issues is the possibility of forming a person's skills for improvisation. We consider the implementation of this process in educational and creative activities of an amateur theater group as a sphere that provides ample opportunities for creative self-realization of the individual. We define the term “improvisation” as a universal ability of the individual, which is manifested in various creative processes, as well as in many other aspects of human life. An actor forms improvisational skills in an amateur theater group due to the organization and implementation of a number of pedagogical conditions, such as: creating a climate of psychological comfort that promotes the self-disclosure of individual and creative abilities of participants in an amateur theater group; using the etude method in the process of mastering the elements of acting improvisation by an amateur actor; mastering the basics of “effective thinking” through specific training exercises. The content component of the implementation of these pedagogical conditions, according to the authors, activates the course of the described process.
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Vilc, Sonja. "Acting together: The art of collective improvisation in theatre and politics." Filozofija i drustvo 28, no. 1 (2017): 32–40. http://dx.doi.org/10.2298/fid1701032v.
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The paper analyzes the concept of collective improvisation and draws out its potentials for social and political theory. Translating the ideas of collective improvisation from their original context in the theatre into the field of political thought, I argue that they offer a new understanding of political action by reevaluating the concepts of dissensus (Ranci?re) and community (Nancy), as well as the ways in which politics as a system needs to produce collectively binding decisions (Luhmann). I conclude that the ideas inherent in the practice of collective improvisation, as it has been developed within the tradition of modern theatre improvisation, subvert our intuitive ways of thinking about politics and thereby offer an alternative model of being and acting together.
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Rudland, Oliver. "Co-creating a Brass Band Dance Number for a Large-scale Community Opera Project with the Aid of Improvisatory Techniques: Co-creativity within an Operatic Context." Context, no. 48 (January 31, 2023): 69–81. http://dx.doi.org/10.46580/cx34966.
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Community opera projects have often integrated bands of varying types to involve participants in ways other than singing and acting. Although many community opera projects incorporate co-creative elements and improvisation techniques in their composition, there is little coverage of how bands, in practice, can be involved as participants in the co-creative process of shaping a new community opera. This paper documents a practice research project that took place with Waterbeach Brass Band based in Cambridgeshire, UK. It records in detail the process whereby aspects of a brass band dance number were devised during co-creative improvisation workshops, and provides both audio-visual recordings and notated examples that capture the emergent creative process, alongside a commentary explaining the processes and methodological approaches employed. The paper discusses the different ways in which members of the brass band responded to improvisational workshops, and how this fed into the co-creative process. It subsequently examines how such co-creative elements can form part of a larger musical-dramatic presentation, demonstrating how they can be developed during an extended operatic scene.
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Kovalenko, Yu B. "Composition and improvisation in the aspect of the music infl uence on the expressive structure of the fi lm." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 60–79. http://dx.doi.org/10.34064/khnum2-15.03.
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Background. In recent years, there has been an increasing interest in interdisciplinary research of arts due to the fact that human consciousness has a unity of principles and approaches in the perception of the surrounding world. In this regard, synthetic arts are of particular interest because they form their creative potential by the expressive means of their art forms. And cinema is one of those open to interaction with the audiovisual means of its other components. There are a lot of studies on fi lm music that contain the analysis of functional and structural features, as well as a point of expressive means interaction, although the last one is not systematized and generalized. Objectives. The study is aimed at identifying the features of the interaction between music and cinema. Particularly, the infl uence of compositional and improvisational processes of music on the expressive structure of the fi lm and the specifi cs of fi lm making are considered. The movies using mostly jazz music were selected to study for a more effective and balanced comparison of the effects of compositional and improvisational principles in their dialectical coexistence. Methods. The desire to explore the phenomenon in its entirety led to an integrated approach which has helped to project the expressive system of music on fi lm work. Both systemic and structural-functional methods are involved in order to determine the specifi cs. The comparative method of analysis is used to generalize the connections of music thinking with audiovisual conception. And the interpretative approach helps to synthesize the results of survey. Scientifi c novelty consists in the attempt to outline the essential connection between music and audiovisual creativity which lies in the time nature of both arts and the tendency to non-verbal expressiveness. Results. The results of the research support the idea that composition and improvisation as two principles of creating a musical work are equally inherent in fi lm making. The fi rst of them provides for the stability and completeness of the structure, while the second one is associated with an instantaneous sensual response to the creation of the work in front of the viewer. Thereby, improvisation actualizes the process of creating a work of art as a way of artists’ communication with one another and with the public. It should be noted that there is a difference between the concept of improvisation as a process and the improvisational principle as a property. The last of them is found in the music of any tradition and is refl ected in the content and form of the work. The main features of the improvisational principle are relaxedness and freedom of expression, a feeling of continuity of movement and unexpectedness of further actions. Similarly, the compositional principle can be distinguished. It is based on repeats and returns of stable elements at a distance. The interaction of compositional and improvisational principles can be traced in the complex of expressive means of the fi lm at the level of dramatic development and plot structure, features of the dynamic movement and screen plastic, light-shadow score, fi - gurative content. When it comes to a musical or biopic fi lm, the diegetic music becomes a stabilizing element of the composition, and the constant returning to the situation of musical performance creates a cyclical effect. At the same time, sensual contemplation, live instant response to the observation of the creation provides a fi eld for acting improvisation within the regulated scenario. Analysis of the movie “Round Midnight” (Bertrand Tavernier, 1986) confi rms these assumptions and the hero’s jazz improvisation replaces his monologues, acting as the main fi gurative characteristic. Films in the genre Noir are marked by the use of jazz improvisation on the non-diegetic structure level. The functional uncertainty of sections, the fl ow of linear and nonlinear narratives, and unexpected change in the rhythm are observed in such fi lms. However, the return of wandering, searching, doubting, walking, coversational situations provide a manifestation of the compositional principle. These observations are made on the example of the movie “Lift to the Scaffold” (Luis Malle, 1958), and the most profound form of interaction between jazz improvisation and cinematic expressiveness – the so-called “jazz cinema”, based on the interpretation of jazz through the prism of fi lm expressive means. “Shadows” (John Cassavetes, 1959) happened to be the fi rst specimen of such kind of fi lms. But the most complex form of interaction between compositional and improvisational elements of music and fi lms are large-scale drama fi lms with numerous storylines and a large number of characters. This is considered on the example of the “Regtime” (Miloš Forman, 1981), where the musical genre determines the plot development, certain events and situations and musical score. In other words, music affects the expressive structure of the fi lm on three levels: genre-stylistic, compositional-dramatic, artistic-linguistic. Conclusions. In the process of the research it has been found out that common time nature in music and cinema allows them to be in close cooperation. The analysis of improvisational and compositional elements in fi lms indicates their certain connections with the musical form. Stabilization at the level of the plot is achieved through the return of certain dramatic situations, cycle of musical compositions as a diegetic element of the fi lm and fi nally, musical accompaniment of certain situations. Instead, improvisation is refl ected in the unexpected events, the looseness of the dialogue and the violation of linear development. All of these dramatic situations are marked by sensual contemplation and alive, instant response to changes in events. One of the main features that unite fi lm structure and jazzy music is the dialogical character of narration. This property makes improvisation a method of presentation and composition building.
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Keller, Betty, and David E. Kemp. "Improvisation in Creative Drama." Canadian Theatre Review 59 (June 1989): 88. http://dx.doi.org/10.3138/ctr.59.019.
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According to the press release for Improvisation in Creative Drama the 23 new workshops and 14 sketches which make up this volume are intended to “aide [sic] the beginning acting student (high school and college level) in exploring the imagination and emotions.” Apart from the eccentric spelling certain other clarifications need to be made. The 23 new “workshops” are actually simple exercises with which most high school students in Dramatic Arts classes in Ontario will already be familiar. Of the nine examples in Chapter 1, six can be found in at least two different ideas books for drama, one of which was published in 1972. Apart from a couple of exercises involving the stimulus of visual art nothing in the first part of the book – Creative Drama Workshops – would not be immediately familiar. Admittedly the exercises are structured in such a way as to develop individual ideas in some kind of depth, but there is little sense of any significant and meaningful linear development. The exercises do not lead into more formal aspects of drama, nor do they provide a spring-board into more dramatically significant work. The idea of improvising situations with no audience, first individually and then in groups, is a good one. But the 23 exercises included would certainly not last a year as Ms Keller suggests in her Author’s note. Even if one included the 15 “Dramatic Sketches” which make up part II, this work would occupy a class for no more than half a semester.
8
Arkadin-Shkolnik, Oleksandr. "Improvisational self-feeling in the upbringing of actor’s and stage directing mastery." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 121–35. http://dx.doi.org/10.34064/khnum1-50.09.
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Formulation of the problem. Relevance of the theme, the aim and material of research. The article deals with the related concepts of improvisation and improvisational self-feeling, state of health that is a special internal state that allows the actor to fully demonstrate his talent, to get rid of stamps, physical and psychological clamps and mechanistic “playing on cothurni”. The theme of improvisation in artistic creativity in general and in stage art in particular, undoubtedly, can be attributed to the circle of “eternal” ones, which over the time not lose their relevance and can acquire new sounding and coloring. Since improvisation is the basis and an integral part of a theater and scenic playing. This clearly demonstrates, for example, the existence from the very origins of the stage art of its separate branch – the theater of improvisation – which has experienced a number of transformations from the Antiquity to our time, ups (such as the Renaissance comedy dell arte) and downs, and reviving today in the new experimental forms. Or the modern flourishing of the “directorial” theater, where improvisation often becomes a full-fledged component of stage action. Anyway, in the works of almost all theatrical geniuses of the world, the greatest experimenters and reformers of the scene we can see the idea of finding the perfect actor, free, independent-minded, an ideal “actor-creator”. In the field of our attention – the theoretical works of theatrical luminaries of the twentieth century, the time of the formation of a free theater – K. Stanislavsky, B. Brecht, E. Vakhtangov and others. Based on this heritage, modern masters of the scene find their own motives and develop them in their work and pedagogy. The study aims to summarize the main methods of developing improvisational skills and conditions for achieving the state of improvisational well-being in the practice of an actor and stage director. Results of the study. In the domestic theater of the new generation, the improvisational method was actively developed and promoted by K. S. Stanislavsky and his follower E. B. Vakhtangov. They relied on the principles and mechanisms operating in the Italian comedy dell’arte; however, the transfer to the new ground and reality has fundamentally changed the principles of improvisation, which resulted in the unique phenomenon – the synthesis of the psychological theater with improvisational one. Rejecting the outdated kind of improvisation, Stanislavsky brought up this method to technical perfection in tandem with the inner spiritual fullness of the actor. Stanislavsky’s new interpretation of this idea was based on the fact that a person (and, therefore, the actor on the stage) cannot repeat any actions twice exactly the same. Thus, if an actor performs his actions on the stage absolutely truthfully, then each rehearsal and performance will be held in free improvisation or, as they say, in “improvisational well-being”. E. Vakhtangov, the successor of the great master, considered the same. The best proof of his ideas judgments is the play “Princess Turandot”, which from the beginning to the end was created in the form of an improvisational theatrical performance. For successful improvisation work it is necessary the actor need to not expect what is happening. For example, actor’s etudes educate the unexpected reaction of the actor in the perception of the current event, which inevitably leads to the transparency and truthfulness of the role picture. The methodological application of B. Brecht’s formula, entitled “not A”, is directed at this: the actor, showing what he does, in all-important places should make the viewer understand, what he does not. He plays so that we could see the alternative as clearly as possible, hinting on the other plot possibilities when the piece gives only one of the possible options. For the successful upbringing of the “ideal” type of actor mentioned above, it is first and foremost important to apply game, training methods of development not only to the physical form, but also to the imagination, the flexibility of the mind and the wit of an actor. Therefore, only an integrated approach in teaching methods and the rehearsal process is able to develop the creative potential of an actor and direct it to the necessary course. It was this approach that was used during this study in practice, which resulted in the birth of such a methodological technique as “blind rehearsals”. Before the rehearsals of the performance were started, a long preparatory period was held on the Stanislavsky system, and after a deep “intelligence research” and mastering the text, the actors began to work, being “blind» absolutely. For almost a month, the actors worked at the rehearsals with a blindfold, which sharpened their perception of the text, the scene and the partner. Left alone in the dark with the material, the actors showed a brilliant result in studying of it. Conclusions. The ability to improvise or “improvisational abilities” should be attributed to the general abilities of the person, which complement the special creative abilities, are subject to improvement and are mandatory for the development of future actor and director. Making use of the innovation in the psychology of creativity, actors-masters permanently update a system of exercises, always bringing in these game images and associations. This helps to avoid of mechanistic and artificial methods. In addition, it is necessary to introduce a set of plastic musical exercises that are the beginning of a lesson for students and develop in such important forms of theater education as a musical-plastic sketches, fragments, and so on. Thus, an integrated approach to work on improvisation-being of students prepares them for the next step in the mastery of acting and future work in the theater. The developed sense of improvisation, in our opinion, is the basis upon which all other features of actor’s personality will put on. That is why we consider the most difficult task of theater pedagogy to see, discover and apply the student’s creative abilities. Modern theatrical practice implies that the actor is free within the overall outline of the role that the director offers him. Modern stage direction encourages actors to mobility, a variety of creative solutions, independent thinking – that is, to improvise. It is that opens wide research prospects within the chosen theme.
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Keogh, Kathleen, and Liz Sonenberg. "Designing Multi-Agent System Organisations for Flexible Runtime Behaviour." Applied Sciences 10, no. 15 (August 2, 2020): 5335. http://dx.doi.org/10.3390/app10155335.
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We address the challenge of multi-agent system (MAS) design for organisations of agents acting in dynamic and uncertain environments where runtime flexibility is required to enable improvisation through sharing knowledge and adapting behaviour. We identify behavioural features that correspond to runtime improvisation by agents in a MAS organisation and from this analysis describe the OJAzzIC meta-model and an associated design method. We present results from simulation scenarios, varying both problem complexity and the level of organisational support provided in the design, to show that increasing design time guidance in the organisation specification can enable runtime flexibility afforded to agents and improve performance. Hence the results demonstrate the usefulness of the constructs captured in the OJAzzIC meta-model.
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Hagendoorn, Ivar. "Cognitive Dance Improvisation: How Study of the Motor System Can Inspire Dance (and Vice Versa)." Leonardo 36, no. 3 (June 2003): 221–28. http://dx.doi.org/10.1162/002409403321921442.
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This paper describes several dance improvisation techniques inspired by the study of the motor system. One technique takes experiments on interlimb coordination from the laboratory to the dance studio. Another technique, termed fixed-point technique, makes use of the fact that one can change which part of the body is fixed in space. A third technique is based on the idea that one can maintain the action, as it were, by “reversing the acting limb.” All techniques target a specific capacity of the motor system and as such may inspire new psychophysical experiments. The present approach to generating movements, which merges dance improvisation with insights from cognitive neuroscience and biokinesiology, may also be fruitfully extended to robotics.
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Saivetx, Deborah. "An Event in Space: The Integration of Acting and Design in the Theatre of JoAnne Akalaitis." TDR/The Drama Review 42, no. 2 (June 1998): 132–56. http://dx.doi.org/10.1162/dram.1998.42.2.132.
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Whatever [the actor] represents in the play, in the order of time he is representing nobody but himself. How could he? That's his body, doing time. —Herbert Blau Improvisation must be a research activity conducted by someone who is trying to break out oftheir own passivity. Peter Brook
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Tranholm, Mette. "Carousel Concept as Assemblage Acting *." Peripeti 18, no. 33 (January 23, 2021): 11–25. http://dx.doi.org/10.7146/peri.v18i33.124608.
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Since 2004 performer and acting teacher Marion Reuter has developed the carousel concept referring to an improvisation method for training multiple acting techniques and scenic functions. This article is based on my collaboration with Reuter and unfolds how my disincarnation theory of assembling different acting techniques enhances Reuter’s carousel practice and vice versa. The collaboration provided an opportunity to try out my theory in practice. The article and the collaboration are part of an artistic research project about the carousel concept at The Danish National School of Performing Arts (DDSKS) led by Marion Reuter. I acted as documentarist and dramaturge. The empirical backdrop for the article consists of my observations and discussions of Reuter and her students’ work on the floor with the carousel concept during the spring of 2018 at DDSKS and a video recording of an earlier carousel ride with students from DDSKS. Our artistic research is characterized by the collaborative exchange between an artistic practice – the carousel concept – and the performance theoretical concept of character which I call disincarnation. The main goals were to document and develop a vocabulary for the carousel concept, thus improving the training, knowledge, and reflection practice of acting students.
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Budanov, Vladimir Grigoryevich, and Tamara Andreevna Sinitcyna. "Quantum-synergetic ontology of generalized corporeality (Part III): psychosemantic language of theater, anthropological jazz." Культура и искусство, no. 12 (December 2020): 138–59. http://dx.doi.org/10.7256/2454-0625.2020.12.34793.
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This article is a continuation of the topic on methodology of generalized corporeality, which stems from the concept of quantum-synergetic anthropology, developed in the previous parts of the triptych. Ontologies of the states (functional bodies and subbodies of generalized corporeality), as well as temporal ontologies are viewed on the example of theatrical acting. The author structures an isomorphism of the well-known musical notation, and representation of the changing anthropological profile in form of a chord of the simultaneously activated “resonating” states of the actor. The article discusses the appropriateness of such musical metaphor, analogy between the freedom of actors’ improvisation, as the anthropological jazz characteristic to any performer, although to different extent. The classical style is even less versatile than jazz improvisation. The author draws parallels of such performances with works of the classics of theater directing, philosophy of acting, and communication of musicologists: K. S. Stanislavsky, A. A. Vasiliev, B. Latour, J. Huizinga, J. E. Berendt. A certain language of interpretation of acting is offered using the dynamic patterns of description of events in the course of the play. If these patterns are adequate to stage reality, which the author was trying to prove, they can be implemented in training the actors, staging performances, etc. This virtually led to creation of a new psychological technique that allows amplifying the acting skills. Moreover, such type of notational representation of actor roles allows archiving and decoding the director's intention using a fairly universal method.
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Monahan, W. Gregory. "Acting Out Nazi Germany." Teaching History: A Journal of Methods 27, no. 2 (September 1, 2002): 74–85. http://dx.doi.org/10.33043/th.27.2.74-85.
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The scene I confronted when I arrived in the classroom on that third day of the simulation unnerved me. Festooned all over the walls, the blackboard, the backs of chairs, and the door through which I had entered were photocopied political posters, some in full color, most in black and white, all sporting an array of frightening images from Germany in 1932: swastikas, hammers and sickles, pictures of Adolf Hitler and Karl Marx, a Socialist Party poster with a worker crucified upon a devilish swastika, invocations to vote for this candidate or that one, threats of dire consequences should one or the other side prevail. I quickly closed the windowed door and blocked it, fearful that a colleague or a student might happen by, glance in, and wonder what I was teaching these students. Students moved me out of the way and papered the door window with even more posters, and I confronted the unforeseen consequence of an improvisation. On a whim, at the end of the first day of a three-day simulation of the German Reichstag election of 1932, I had promised an extra 300 votes to whichever party put up the most posters on the third day, and my students had responded with ferocious energy! Well, I thought, that idea was obviously going to require a little bit of tweaking.1
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Yevsyukov, Yu S. "Characteristic features of the upbringing of modern actor." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 209–22. http://dx.doi.org/10.34064/khnum1-51.12.
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In the time of changing global norms and rapidly developing technologies, modern theatre constantly evolves, adopting new theatrical forms; many of these emerged at the turn of the twentieth and twenty first centuries. In this regard, it is appropriate to talk about the formation of the new creative individual, the modern actor in contemporary theatre. Higher educational institutions, for both theatrical and cinematic professionals, should be aimed to develop not only highly qualified and competitive experts, but also creative individuals. As society is constantly evolving both culturally and spiritually, a contemporary artist has to be prepared to mirror this and progress their own style in respect to these considerations. Therefore, in this article we draw attention to the key characteristics in educating the modern actor. The objective of the study is to answer some of the topical questions relating to students mastering of acting; an attempt was made, focusing on the most important components of the profession, such as the authenticity of playing, improvisation, inspiration, actor’s personality, to concretize the features of the creative image of the contemporary stage master and his theatrical teacher. The methodological basis of the study includes the works of M. Knebel, K. Stanislavsky, M. Chekhov, and a number of other outstanding practitioners and theorists in the performing arts space. It also references studies, articles and publications of modern theatre teachers: P. Bruck, A. Vasilyev, E. Grotovsky, N. Zvereva, D. Livneva, P. Pavi. The results of the research. The Ukrainian theatrical art has always been emotional, lyrical, and sincere. Such his features exist as if out of time. So it was in the era of Schepkin, Solenik, Rybakov, Kropivnitskyi and Staritskyi. These qualities also are characteristic of today’s performing style. Therefore, drama teachers primarily pass on knowledge of traditional psychological theater. However, not forgetting the values of traditional learning, they also master other teaching methods, introducing students in theory and practice to the modern theatrical process, thus adopting the global theatrical language. Compulsory and integral parts of modern theatrical education are various techniques of stage speech and vocal, psycho-technique, methods of control over mental processes. The article also examines the practical skills gained during drama and stage speech lesson and their importance emphasizes, as well as the role such fundamentals features of scenic art as trueness, persuasion of playing, improvisation and inspiration, also an actor’s individuality. It is necessary to conscious that authenticity, trueness of actor’s playing has a great power over the audience. Working on the authenticity of acting, a pedagogue should understand what a student thinks about, how he responds and what he feels while staying in a role of one or another character. The basis of live theatrical playing is also improvisation. The student must distinguish the improvisation onto a scripted line from the poorly rehearsed acting. For professional theatre, it is inappropriate to use the latter type of improvisation, because it can lead an actor away from the role and the stage director’s decisions and deteriorate the spectacle. Therefore, rehearsals should always precede improvisation. Another component typical for creative professions is inspiration. This is the emotional actor’s resource, which is characterized by a highly productive state and an intensity of emotions. Inspiration does not come on demand; it manifests through the love of one’s job, through some bright idea or sometimes it occurs spontaneously and cannot be studied and replicated at will. In addition, while studying, each of students should try to uncover his uniqueness, his individuality and learn to listen to self-own inner voice; he should look for his own interpretation of a particular role. Based on the above, we can draw some conclusions. A student studying acting today should aim to equally master the knowledge of classical acting techniques and understand all the intricacies of modern avan-garde and postmodernist theatre trends, the diversity of which places special demands on the education of a modern actor. A modern artist must skilfully apply in practice the knowledge gained in the learning process . He should freely navigate in various methods of acting, in drama as the primary basis of the performance. He should have an idea about inspiration, improvisation, acting individuality and authenticity of playing, about stage space and time. It would be an error for a contemporary artist to confine himself to the sphere of his profession exclusively, he should understand the connected nature of arts and the relationship between the theatre and other art disciplines. Various techniques of stage speech and vocal, emotive approaches and methods of controlling the inner world are compulsory and an integral part of modern theatrical education. The deeper a student learns the specificity and laws of these arts, the more interesting and professional his performance becomes. In turn, the modern theatre pedagogue while training students should upbringing such features as self-confidence of a student; a sense of responsibility and autonomy; aim for discovery of a student’s individual abilities; development of his taste and a sense of proportion; the ability to analyze and being equipped to distinguishing high art from vulgar and fake.
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Pērkone, Inga. "A TEAR ON THE CHEEK: IN SEARCH OF EDUARDS PĀVULS’SJ151 ACTING CODE." Culture Crossroads 7 (November 14, 2022): 135–42. http://dx.doi.org/10.55877/cc.vol7.234.
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Eduards Pāvuls (1929–2006) is one of the most beloved Latvian theatre and cinema actors, a charismatic player of common people. Starting with the 1950s, Pāvuls becomes a messenger of a new age in the art of acting. In his characters he rejects the histrionically encoded style of acting that is characterised by theatrical signs canonised over centuries. Instead, he uses expression codes taken from real life. Pāvuls succeeds in conveying, what can be called Zeitgeist in the art of acting. In the cinema it is represented by the influence of Method Theatre in Hollywood and by acting based in improvisation in the forms of New Wave films at the turning of the 1950s and the 1960s in the world. However, the essential changes do not so much proceed from acting techniques, but from change in public opinion about what a character should be like in a work of art.
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Ghazawi, Lorelei. "The Development of Creative Potential in Children Aged 9 to 13 through Acting Classes." CONCEPT 26, no. 1 (February 26, 2024): 223–44. http://dx.doi.org/10.37130/cryxf070.
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The questions that lead to the following research are: Is every human being creative? Does everybody possess a creative potential? If anyone is born creative, does creativity remain a part of our whole lives, or does it fade away reaching adulthood? Can acting techniques develop or reawaken creativity? The research project we conducted focused on the ways creativity can be rediscovered in every field of activity, and the possibilities that acting teachers have on guiding their students aged 9 to 13 to regain and develop their creative potential via theater games and improvisation.
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Shtefyuk, Valeria. "Actress training by Michael Saint-Denis: improvisation in a mask." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 267–74. http://dx.doi.org/10.32461/2226-2180.39.2021.238738.
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The purpose of the article is to analyze the features of the theatrical and pedagogical activity of M. Saint-Denis and to reveal the specifics of the acting training "Improvisation in a mask" in the context of students' work with a neutral and characteristic mask. Methodology. The biographical method was applied (to cover the director's and pedagogical activity of M. Saint-Denis); the typological method (for identifying and determining the main features of the theatrical pedagogy of M. Saint-Denis in general and the methods of teaching the actor developed by him in particular); the method of comparative analysis (for the study of the training "Improvisation in a mask" with neutral and characteristic masks), etc. Scientific novelty. Studied the actor's training "Improvisation in the mask" of the leading theater director and teacher of the twentieth century. M. Saint-Denis and revealed the features of the work of student actors with a neutral and characteristic mask; analyzed the theatrical and pedagogical activities of M. Saint-Denis as a standardizer of theatrical practice in the context of the developed and implemented curricula for acting in drama schools founded with his assistance (London Theater Studio, Old Vic School, Strasbourg Higher School of Dramatic Art, Canadian National Theater School and the Juilliard Drama Department). Conclusions. M. Saint-Denis's holistic model of acting training is formed on the basis of an organic combination of a physical approach, in which the body learns to turn into an absolute expressive instrument, an internal approach, the so-called realistic characterization, and a comprehensive understanding of the style in the context of mastering physical, vocal, intellectual, creative and emotional skills, allows student actors to master all kinds of drama. The study revealed that the mask was considered by M. Saint-Denis as a temporary working tool that helps to reduce feelings of insecurity and awkwardness, enhance the ability of internal self-awareness, enhance expression and experimental activity, develop concentration of attention, self-control of a student-actor and a harmonious path from the inception of physical qualities. character to their external dramatic expression. The student's task is to fill the mask, to give it life and feelings. If the actor who animates the mask is convincing and sincere, it feels like he has his own facial expression. The aim of the training is: to eradicate cliché-manners; teach students to develop and release creative impulses; to teach students to work on classical roles or roles of the "big style" (according to M. Saint-Denis).
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Del Vecchio, A., C. Pfennig, and P. Moschella. "84 Medical Student Response to Improvisation and Acting Training: Novel Curriculum Pilot Study." Annals of Emergency Medicine 70, no. 4 (October 2017): S34—S35. http://dx.doi.org/10.1016/j.annemergmed.2017.07.109.
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Doyle, Charlotte L. "Social Interaction in the Art of Acting: Forms and Phases." Creativity. Theories – Research - Applications 3, no. 2 (December 1, 2016): 211–28. http://dx.doi.org/10.1515/ctra-2016-0014.
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AbstractCreativity is here construed as an activity taking place in phases over time, one everywhere imbued with the social, whether the creator does much of the work alone as in fiction writing or with others where the creation itself is collaborative such as jazz improvisation. This paper considers the creation of theatrical roles, a domain in which some phases of the activity take place under solitary conditions and others involve face-to-face interaction. Grounded in a research review, the paper examines the phases of the creative process in scripted acting. It notes the kinds of social relationships in each, the roles of intention, reflection and spontaneity, the forms of interaction in terms of Schütz’s multiple realities and the ways in which those realities interact.
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Barroso, Tomaz. "Repetição e espontaneidade." Conceição/Conception 11 (September 21, 2022): e022004. http://dx.doi.org/10.20396/conce.v11i00.8668827.
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O presente artigo possui como tema o diálogo entre as pedagogias dos professores Sanford Meisner e Keith Johnstone. Pretende-se demonstrar como o conceito e a aplicação prática da repetição, tal como trabalhada pelo primeiro, pode ser um meio de promover a espontaneidade, na acepção do segundo. Essa proposta é baseada nas obras On Acting, de Meisner, e Impro - Improvisation and the Theatre, de Johnstone, bem como em outras fontes bibliográficas que servirão como suporte.
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Yu, Yadong. "Application of the Analects of Confucius in training scenic dialogue." Культура и искусство, no. 7 (July 2020): 59–65. http://dx.doi.org/10.7256/2454-0625.2020.7.33383.
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The author examines four main things taught by Confucius: virtue, speech, political questions, and literature in the context of their use in teaching scenic art. The author claims that speech is extremely importance, as it is not only a criterion for assessing virtue, but also necessary means for participating in political affairs and mastering literature. The article describes asset of guidelines for speech practice, their application in teaching acting techniques, and significance for practicing “dialogue” in scenic speech class. Attention is focused on teaching improvisation dialogue to the actors. Such practical course is intended for logical organization of speech skills of the students. A conclusion is made that Confucius' understanding of speech practices allows teaching improvisation dialogue to the future actors. At the initial stage of teaching improvisation dialogue, it is important to instill the sense of self-consciousness into students, dispose towards self-education, teach to be in a stable work condition, and only then organize speech based on the suggested circumstances. During this practical course, it is necessary to follow true emotions, mutual trust, sincerity of communication and, and how the student overcomes difficulties if logically structures the line of dialogue. The next step is to teach the future actor a rational attitude towards a situation.
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Carlson, Kristin, Prophecy Sun, Shannon Cuykendall, Maria Lantin, Thecla Schiphorst, and Greg Corness. "Beyond the Here and Now: Exploring Threaded Presence in Mediated, Improvised Performance." Presence: Teleoperators and Virtual Environments 26, no. 2 (May 1, 2017): 97–110. http://dx.doi.org/10.1162/pres_a_00288.
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Presence is a prominent component of our conscious human experience. Many researchers and philosophers have described presence simply as a state of being there, or in improvisation, the here and now. We explore presence by examining performers’ experiences in an improvisational, telematic performance, Presence in a Box: Crossing Liminal Spaces (see Figure 1). Through our analysis of this performance we define the concept of “Threaded Presence” which we bridge to existing literature in “Situated” and “Extended Presence.” We discuss the role of technology in creating threaded presence by acting as an additional performer, adding a layer of glitch and unpredictability to a performance that requires negotiation from the entire team. We suggest that technology does not need to be transparent in order to experience presence in a performance space and focus on three main components of experiencing presence: creating a container of presence, blending boundaries of time and space, and implementing restraints. It is the collision of these elements that brings a new sense of agency into performance and contributes to one’s experience of threaded presence.
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Barnych, Mykhailo, and Nataliіa Horbachuk. "Acting: From Imagination to Transformation." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (June 30, 2021): 18–27. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235062.
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The purpose of the research is to analyze the actor’s work on himself before going on stage or set and reveal the main ways to prepare the actor for a stage role or movie role in the imagination. Working on a role in the imagination is one of the most important points in preparing for playing on stage or the set. The research methodology is based on the theoretical and analytical method of defining the main creative methods of preparing an actor for the playing and their application while playing to get used to the role. The scientific novelty consists in a holistic study of the work of a theatre and film actor in the imagination and at the preparatory rehearsal stage of creating a role. Conclusions. Based on the work analysis of the actor of theatre and cinema, the features of working on the role in the imagination, at rehearsals and the use of this creative method during the performance or on the set of the film have been determined. It has been revealed that one of the important ways to prepare an actor for the playing is role improvisation. It has been found that the creative atmosphere on the set has a beneficial effect on the result of the acting. A necessary point in the work of an actor on himself is the study and development of natural instruments, in particular, the mastery of voice, facial expressions, gestures, breathing. An important part is to study the mechanism of arousal of the actor's experience in the role.
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Wang, Yuwen. "What “True Listening” Means in Terms of Acting? How to Train Actors Listening Truly?" International Journal of Education and Humanities 10, no. 2 (September 3, 2023): 137–40. http://dx.doi.org/10.54097/ijeh.v10i2.11582.
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This study delves into the concept of "true listening" in acting and its challenges, originating from the author's experiences in acting education. Feedback consistently noted issues with genuine listening, despite the author's belief in their attentive listening, leading to a perceived lack of engagement. The study explores the essence of "true listening," emphasizing its significance in Chinese acting education alongside "true seeing" and "true touching." It identifies two key aspects: external attention and responsive engagement to stimuli. The study uncovers phenomena like "arrogant listening" where actors memorize lines and anticipate responses, sidelining actual listening, and "inferior listening" driven by line memorization anxiety. Additionally, actors' tendency to pre-plan improvisation, termed "pre-set listening," hinders responsiveness. The notion of "isolated listening" parallels modern detachment from information. To address these issues, the study recommends utilizing Stanislavsky's "system" and the Meisner technique. Stanislavsky's "creative state" concept fosters genuine listening, while exercises encourage authentic partner exchanges. The Meisner technique cultivates present-moment engagement through truth-sharing exercises. The study concludes with suggestions for Chinese acting instructors, aiming to enhance acting education by illuminating "true listening" and strategies to overcome challenges.
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Friedberg, Robert D., and Gina M. Brelsford. "Training Methods in Cognitive Behavioral Therapy: Tradition and Invention." Journal of Cognitive Psychotherapy 27, no. 1 (2013): 19–29. http://dx.doi.org/10.1891/0889-8391.27.1.19.
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Cognitive behavioral supervisors influence new generations of clients and clinicians. Accordingly, the task is meaningful, rewarding, challenging, and critically important. This article describes traditional and unconventional approaches to supervising clinicians in cognitive behavioral therapy (CBT). Traditional methods such as the use of the Cognitive Therapy Rating Scale, videotape/audiotape review, live supervision, and cotherapy are reviewed. Further, inventive procedures for teaching supervisees cognitive flexibility, empathy, tolerance for ambiguity, and remaining steadfast when faced with negative emotional arousal are explained. Popular media, improvisation and acting exercises, and working with professional actors as teaching methods are explained.
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Lengelé, Christophe. "Live 4 Life: A spatial performance tool to play the ephemeral and improvise with space and playback speeds." Organised Sound 26, no. 1 (April 2021): 89–99. http://dx.doi.org/10.1017/s135577182100008x.
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This article describes my own way to improvise with space using a computer-based tool implemented in SuperCollider. The objective of this spatial performance tool is to have an ergonomic spatio-temporal and spectral control over numerous sound objects in real time, in order to alternate between spatialised polyrhythms and textures. After a brief review of spatial audio context, the spatial performance tool is summarised and detailed here by focusing on one of the core parameters: the playback speeds, which can act both on rhythm and space and enable among others the spatio-temporal articulation of the performance. As well as discussing the word ‘comprovisation’ and my conception of human–computer improvisation, the possibilities and approach of the tool in terms of improvisation and controllerism are illustrated through the use and combination of different controllers (computer keyboard, tactile interfaces, force touch sensors). Whereas some controllers are more dedicated to the selection and triggering of streams of spatialised sound events, others have their own mappings and ways of acting on some parameters (depending on the temporality of the sounds: playing or future events).
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Lavoie, Bernard. "Conversations with six Québécois playwrights." Canadian Theatre Review 75 (June 1993): 30–35. http://dx.doi.org/10.3138/ctr.75.007.
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In the seventies, collective work and improvisation gave actors unprecedented room to contribute to the making of plays. This period passed and a shift occured in Quebec’s dramaturgy. The text signed by the playwright acquired a new profile. In the eighties, actors, who had been the core of the creative process, went back to their role of interpreters. It is as if they had indicated to the playwrights that a theatre of content was possible, and that this return to the technical and aesthetic problems of acting made way for writers to reclaim their place in theatre.
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Barker, Clive. "In Search of the Lost Mode: Improvisation and All That Jazz." New Theatre Quarterly 18, no. 1 (February 2002): 10–16. http://dx.doi.org/10.1017/s0266464x02000118.
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Years ago, NTQ co-editor Clive Barker was tantalized by a passing and lost reference on a radio programme to a source of inspiration for musicians of the Be Bop generation: this had showed them ‘a way forward by taking them away from music based on chords and riffs to music based on modes’. Can acting aspire to an analogous state to the improvisations of jazz musicians, in which spontaneity is modulated by the discipline of true respect for the ensemble? Drawing on his own experience as an actor with Theatre Workshop – whose orchestration came close to that of jazz – and on teaching actors to break down inhibitions through the work described in his seminal Theatre Games (1977), Clive Barker looks towards a ‘next step’ in actor training and rehearsal techniques. This would work towards integrating the controlled freedom of jazz with the results he knows can be achieved through his own work with actors – the creation of ‘great and beautiful physical poetry in small rooms’. Oh – and can anyone offer a lead towards that elusive book which inspired the jazz musicians of the 'forties?
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Cantrell, Tom. "‘In the doc’: Acting Processes in Brian Hill's Docudrama, Consent." Journal of British Cinema and Television 13, no. 3 (July 2016): 351–67. http://dx.doi.org/10.3366/jbctv.2016.0324.
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This article explores Brian Hill's award-winning docudrama, Consent, from the point of view of the actor. Consideration of actors’ processes has remained conspicuously absent in analyses of docudrama or documentary television. To redress this balance, this article is based on new interview material with Anna Madeley, one of the two leading actors in the piece. A complex blend of fact and fiction, Consent follows a fictional rape trial from the rape itself, the reporting of the attack to the police, the victim's visit to a doctor, through to the court case, the jury's deliberations and the judge's verdict. Actors Anna Madeley and Daniel Mays played the victim and perpetrator, but all of the professionals with whom they came into contact – the police, medical professionals, lawyers, judge, court staff and jury members – were played by real people in their professional capacity. To facilitate a consideration of the actor's perspective, Anna Madeley's acting processes are explored in detail, with particular focus on her use of memory and recollection, and on her experience of improvisation and the question of agency that the project prompts. This approach demonstrates the value of placing actors’ experiences at the heart of research into television performance, as well as raising searching questions about the way that we understand and codify performance in docudrama.
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Dumot, Méline. "A Contemporary Clown." Pacific Coast Philology 56, no. 1 (April 1, 2021): 27–40. http://dx.doi.org/10.5325/pacicoasphil.56.1.0027.
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Richard III is the perfect Shakespearean figure to look into the clowning tradition at play in the early modern theatrical world. Richard is a wise fool, who delivers the truth under comic appearances, as well as a buffoon, “deformed, unfinish'd, sent before [his] time” (Richard III, 1.3.21), who amuses the audience. Thomas Ostermeier, world renowned director of the Schaubühne Theatre in Berlin (since 1999), presented his Richard III at the Avignon Festival (France) in July 2015. His favorite actor, Lars Eidinger, largely contributed to his success. The latter chose to play a particularly dynamic Richard, in connection with the figure of the medieval Vice. Richard's role marks the pinnacle of Eidinger's acting, with a strong emphasis on improvisation. The spectators are constantly solicited. Improvisation is the perfect form of communication for the clown who mocks his audience and adapts to the conditions of live performance. Thomas Ostermeier, a keen reader of Shakespearean criticism, revisits the figure of the medieval Vice: he deploys twenty-first-century playing techniques in order to explore a complex Shakespearean heritage. Eidinger’s play mode is a perfect illustration of how the clown figure can be revisited to offer a new experience to twenty-first-century audiences.
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Schiffer, Sheldon. "How Actors Can Animate Game Characters: Integrating Performance Theory in the Emotion Model of a Game Character." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 15, no. 1 (October 8, 2019): 227–29. http://dx.doi.org/10.1609/aiide.v15i1.5252.
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Despite the development of sophisticated emotion models, game character facial animation is still often completed with laborious hand-controlled key framing, only marginally assisted by automation. Behavior trees and animation state machines are used mostly to manage animation transitions of physical business, like walking or lifting objects. Attempts at automated facial animation rely on discrete facial iconic emotion poses, thus resulting in mechanical “acting”. The techniques of acting instructor and theorist Sanford Meisner reveal a process of role development whose character model resembles components of Appraisal Theory. The similarity conjures an experiment to discover if an “emotion engine” and workflow method can model the emotions of an autonomous animated character using actor-centric techniques. Success would allow an animation director to autonomously animate a character’s face with the subtlety of gradient expressions. Using a head-shot video stream of one of two actors performing a structured Meisner-esque improvisation as the primary data source, this research demonstrates the viability of an actor-centric workflow to create an autonomous facial animation system.
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Hattori, Kenji. "Utilizing Applied Drama in Clinical Ethics Education." Studia Universitatis Babeş-Bolyai Bioethica 66, Special Issue (September 9, 2021): 88. http://dx.doi.org/10.24193/subbbioethica.2021.spiss.53.
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"We examine the significance and necessity of introducing applied drama into clinical ethics education to build ethics competency. Case-based clinical ethics, distant from abstract theory-based discursive ethics, pays close attention to emotions of persons involved in a given case, and of participants in deliberation. Some authors have sensibly emphasized this point. For example, CURA, a reflective method puts forward the crucial step to become aware of own emotions and physical reactions to each difficult situation. These suggest that we should not stay just in rational reasoning to resolve moral problems in clinical settings. Such a stream seems to lead us to the next stage of clinical ethics education. Applied drama is an umbrella term for the various ways to use theatrical elements, outside of theaters, in educational settings. The basic conception is playing. It includes two meanings: gaming and acting. Generally, we stop playing when we grow up. Applied drama encourages us to play again. Playing promotes communications in verbal and physical. In acting like an acting person, we are to put ourselves in another person’s standpoint. Through acting a role, we may live her life and feel vividly his emotion but by imagination. Thus, applied drama has great potentiality to change the mode of discussion – or deliberation-based clinical ethics. As applied drama comprises various ways such as improvisation, forum theatre, and so on. We will explore their features and application in actual teaching settings. "
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Kim, Kyu Jin, and Young Seok Lee. "A Study on the Michael Chekhov Technique for Inspired Acting." Institute of Art & Design Research 25, no. 2 (December 31, 2022): 9–16. http://dx.doi.org/10.59386/jadr.2022.25.2.9.
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This study aims to investigate inspiring factors in the Michael Chekhov Technique to establish a concrete way to inspired acting. Inspiration is a creative stimulus that leads to the creation of a character's internal and external life and a driving force that leads him to live a diverse role away from the habits of his body and mind. But inspiration works in subconsciousness and can never be controlled artificially, so Chekhov comes up with a variety of techniques that will inspire indirectly and organically. This study examines the principles and detailed elements of the Michael Chekhov technique, focusing on the 'chart for acting inspiration'. This thesis researches the Michael Chekhov Technique and his acting philosophy, focusing on the ‘Chart of Inspired Acting.’ To this end, the researcher referred to all Chekhov's books as well as writings by several Chekhov experts, including David Zinder, Lenard Petit, Lisa Dalton, and Franc Chamberlain, and added depth to his understanding of the technique by participating in the teacher course of the National Michael Chekhov Association. On Chart of Inspired Acting, ‘Psychophysical Exercises,’ ‘Quality,’ ‘Four Brothers(Feelings of Ease, Beauty, Form, and Entirety),’ ‘Truth and Style,’ ‘Composition,’ ‘Psychological Gesture,’ ‘Imaginary Center and Body,’, ‘Atmosphere,’ ‘Objective,’ ‘Focal Point,’ ‘Ensemble,’ ‘Improvisation,’ ‘Radiating and Receiving,’ and ‘Imagination’ are all based on the mind-body connection and trigger the various factors of inspiration effectively.
Also, all the techniques are deeply interconnected, so when one technique activates inspiration, all the others instantly function. After Chekhov proposed the Chart of Inspired Acting, he continued to develop new skills and exercises. This fact suggests that, if necessary, it is possible to add other inspiring factors to his technique and devise effective and systematic exercises.
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Fatahillah, Fatahillah, Mulat Sudrajat, and Ari Rohmawati. "GROWING DEVELOPING CIVICS LITERACY THROUGH SAINTIFIC LEARNING APPROACH MODEL USING LEARNING MEDIA COMPUTER PRO SHOW GOLD APPLICATION." DWIJA CENDEKIA: Jurnal Riset Pedagogik 2, no. 2 (December 31, 2018): 32. http://dx.doi.org/10.20961/jdc.v2i2.26282.
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Developing Civic Literacy for a citizen of a young country is a pedagogical mission that must be borne by every educator directed by the 2013 Curriculum through the use of Scientific approaches in various learning activities that require learning media that can arouse students' rational and intellectual thinking ability, namely Audio Visual Media namely a media based on multimedia with computer hardware and run based on software programs namely; Pro Gold Show. Researchers intend to carry out an Action Research (Action Research) which aims to examine the Impact of the Use of Scientific Learning-Based Models Using Computer Application Media Pro Gold Show Research will be carried out through three cycles namely planning, acting, observing and Reflection and analyzed by SWOT (Strenghts Weakness Opportunities Threats). This study was conducted to develop a hypothetical model using a qualitative approach, while the results of the study showed that the Action Model had the power: Can provide a more effective and simple transformation of knowledge through a series of stages of Action, Weaknesses: Learning using an old style that is Cross Curricular will hinder innovation and improvisation: Opportunities: Still open Innovation and Improvisation in its development; Threat: Creativity that is not formed due to the lack of ability of the Teacher will result in actions in learning to be in vain.
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Roszko, Edyta. "A Triad of Confrontation: State Discipline, Buddhist Purification, and Indiscipline as a Local Strategy in Central Vietnam." Journal of Contemporary Ethnography 48, no. 2 (March 5, 2018): 183–208. http://dx.doi.org/10.1177/0891241618758854.
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In the village of Sa Huỳnh, state, fishers, and Buddhist clergy draw from semiotic ideologies but often employ a common political language, rarely agreeing on its meaning. Highlighting different structural positions and goals of social actors, I argue that binary oppositions exist but are not mutually exclusive, ever-lasting or antagonistic, as they shift in unexpected ways across the triadic relationship between state officials, fishers, and Buddhist clergy. By exposing the extent of improvisation and legitimation tactics, I show that religious practices are co-produced locally by the state through its diverse agents and agencies, by religious reformers through their purifying discipline, and by various categories of villagers who use indiscipline as a local tactic when acting on behalf of their gods.
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Watson, Ian. "Denmark Presenting the Female Role." Canadian Theatre Review 51 (June 1987): 82–85. http://dx.doi.org/10.3138/ctr.51.013.
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From 17-22 September last year the International School of Theatre Anthropology (ISTA) conducted its fifth international congress in Holstebro, Denmark, entitled “The Female Role as Represented on the Stage in Different Cultures. “ ISTA, which was founded by Eugenio Barba in 1980, is an organization devoted to researching the fundamentals of performance through a comparative study of Eastern and Western acting techniques. This research is conducted by Barba himself, along with a group of master performers from the Orient and Occident, and a team of scholars including biologists, psychologists, anthropologists, and theatre academics. At ISTA’s public sessions, like the September congress, selected participants are invited to work with the specialists in exploring particular themes such as improvisation (1981), and narrative (1985).
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Sutherland, Laura, Ruth Dunkle, and Garrett Pace. "Enhancing Group Bonding in an Acting Class of Older Adults in Urban Subsidized Housing." Innovation in Aging 5, Supplement_1 (December 1, 2021): 917. http://dx.doi.org/10.1093/geroni/igab046.3324.
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Abstract Creative arts such as acting can promote social contact and bonding among socially isolated populations. Yet the benefits of art programming among older adults in low-income urban settings remain unexplored. A professionally administered theater group comprised of older adults living in urban low-income housing met for 12 weeks to learn acting skills and perform a play. The purpose of this study was to identify: 1) why participants enroll in a residence-based acting and improvisation course, and 2) what aspects of the course contribute to group bonding. Participants (n=14) were African American. The average age was 63 years, 14% were men, 57% had a high school degree or less, 79% reported good to excellent health, and the mean ADL score was 1.45 (range: 1-2.5). A researcher was present at each class session to observe and take field notes. Pre-post interviews included closed and open-ended questions. The researchers reviewed field notes and interview transcripts for a priori themes and emergent themes through independently coding data, discussing similarities and discrepancies, and coming to consensus on themes. Results showed that participants were motivated to enroll to meet new people, come out of themselves, learn something new, and gain artistic skills. Participants indicated the course contributed to group bonding via teaching techniques, course structure, the teacher’s use of self, the expression of self, and mutually enhanced coping skills. Results from this study provide guidance for the design of theater groups in similar settings and inform recruitment efforts of older adults in creative arts programs.
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Gherardi, Silvia, Karen Jensen, and Monika Nerland. "Shadow organizing: a metaphor to explore organizing as intra-relating." Qualitative Research in Organizations and Management: An International Journal 12, no. 1 (March 13, 2017): 2–17. http://dx.doi.org/10.1108/qrom-06-2016-1385.
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Purpose The purpose of this paper is to conceive “organizing” as an indeterminate process taking place in the interstices of intra-acting elements, beyond visible/rational/intentional organizing. The term intra-activity refers to relationships between multiple elements (human and more-than-human) that are understood not to have clear or distinct boundaries. The paper aims at reframing organizing, as the effect of multiple intra-acting elements, by introducing the metaphor of shadow organizing. It offers examples as diverse as knowledge spillover, evidence-based medicine and improvisation, and the mafia’s organizational rules. Design/methodology/approach The frame of reference is metaphorical theorization, based on the metaphor of shadow organizing, and is explored through three metonymies: the forest and its sheltered spaces in penumbra; the shadow as a grey zone between canonical and non-canonical practices; and secret societies, hidden in the shadow. The shadow is the symbol of what is “betwixt and between.” Findings Shadow organizing focuses on the way that situated elements (people, technologies, knowledge, infrastructures, society) intra-relate and acquire agency. Whilst organizing as the effect of intentional coordination, planning, and strategizing represents a well-established theorization, shadow organizing sheds light on what happen in the interstices of intentional and structured processes. The paper identifies the dimensions of shadow organizing as performativity, liminality, and secrecy. Originality/value The passage from elements in interaction to intra-acting relations that form elements is a challenge both for theory and methodology. To face this challenge, metaphorical thinking proves useful since it enhances scholars’ imaginations and emotional participation.
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Mendus, Clive. "‘Competitive Co-operation’: Playing with Theatre de Complicite." New Theatre Quarterly 22, no. 3 (July 11, 2006): 257–67. http://dx.doi.org/10.1017/s0266464x06000467.
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Clive Mendus joined Theatre de Complicite a year after its formation by Simon McBurney in 1983. Born in Cumbria in 1954, he shared classes with McBurney during training at the Ecole Jacques Lecoq in Paris, before returning to Britain to develop his acting career. In this interview with NTQ Co-Editor Maria Shevtsova, held in London in December 2004, Clive Mendus discusses aspects of his work at the Lecoq School, while his account of playing with Complicite – particularly in The Street of Crocodiles (1992) and Measure for Measure (2003) – sheds light on the improvisation processes which are characteristic of the company, as well as on Mendus’s sense of himself as an actor. Measure for Measure toured Wroclaw, Madrid, Mumbai, Bangalore, Milan, Grenoble, and Berlin in 2005. Apart from accumulating a range of theatre experiences, Mendus has worked in film and television, including such television series as EastEnders and The Bill.
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Diamond, Catherine. "Burmese Nights: the Pagoda Festival Pwe in the Age of Hollywood's ‘Titanic’." New Theatre Quarterly 16, no. 3 (August 2000): 227–48. http://dx.doi.org/10.1017/s0266464x00013865.
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The Burmese zat pwe, an exuberant variety show involving almost every kind of performing art, has fascinated foreign visitors to Myanmar for the past hundred years. It continues today as a vibrant amalgam of singing, dancing, acting, and comic improvisation, still performed annually at pagoda festivals. As Burmese scholars have noted, the Burmese performer is primarily a singer and dancer rather than a dramatic actor, and therefore tends to use plays as frameworks for demonstrating virtuosity in these areas. This is reinforced by the training given at the two State Schools of Music and Dance, and while the Drama Department at the University of Culture does acquaint students with dramatic acting, the emphasis remains on music and dance. Moreover, the scripted drama, especially the classical drama, which reached a peak in the mid-nineteenth century, is increasingly omitted from the pwe programme, having gradually been displaced by the pop music that is considered necessary to attract young audiences. Despite such changes, which alarm traditionalists, the pwe performance has shown a resilient flexibility to adapt to audience preferences and remains a lively highlight at the festivals. Catherine Diamond – who has previously written for NTQ on Vietnamese and Turkish theatre, and on oriental approaches to classical tragedy – is a dancer and drama professor who is currently directing for the Thalie Theatre, the only English-language theatre in Taiwan.
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Walter, Anke. "Latin literature." Greece and Rome 71, no. 1 (March 6, 2024): 127–36. http://dx.doi.org/10.1017/s001738352300027x.
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Let us start with a wonderful book that shows us not only Plautine comedy, but also Republican literary culture in a new light: Emilia Barbiero's fascinating exploration of the role played by letters in Plautus’ comedies. In five chapters dedicated to Bacchides, Persa, Pseudolus, Curculio, and, finally, Epidicus and Trinummus, she develops a powerful argument for the intricate metatheatric implications of the writing, reading, forging, or not-opening of letters on the Plautine stage. Countering a scholarly trend that tends to emphasize the role of improvisation, collaboration, and preliterate forms of theatre in Plautus’ comedies, Barbiero shows that the use of letters in Plautus’ comedies – without exception employed for amorous affairs – rather points to a deep concern with writing as the basis for acting and that they can be understood as mirrors of the text within the text and as mise-en-abyme of the origins of Plautine comedy in a script.
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Merlin, Bella. "Albert Filozov and the Method of Physical Actions." New Theatre Quarterly 15, no. 3 (August 1999): 228–35. http://dx.doi.org/10.1017/s0266464x00013026.
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As a complementary piece to her preceding article on the formative significance of The Seagull to Stanislavsky's early thinking, Bella Merlin here looks at the play in the context of Stanislavsky's later work, when he was developing the Method of Physical Actions – an approach to a text which placed improvisation and the physical exploration of a scene at the centre of the actor's rehearsal process. This was in some ways a contravention of what was becoming codified in the West (through limited material being available in translation) as the psychological basis of the system. In 1995, Bella Merlin undertook a ten-month course of actor-training at the State Institute of Cinematography in Moscow, where she worked with acting ‘master’, Albert Filozov, who had trained with Mikhail Kedrov, one of the first developers of Stanislavsky's work following his death in 1938. Here, she examines the roots of Filozov's training and the nature of the Method of Physical Actions in theory and in practice. Bella Merlin trained as an actress in Britain and Russia, and has worked extensively in theatre and television. She is currently a lecturer in Drama and Theatre Arts at Birmingham University, where her area of research is acting processes and the psycho-physical nature of performance. This article is based on a paper delivered at the ‘Flight of the Seagull’ conference at the Alexandrinsky Theatre, St Petersburg, in November 1996, to celebrate the one-hundredth anniversary of the premiere of The Seagull.
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Stachowiak, Klaudia. "Selected aspects of ensuring energy security in the municipality." Scientific Journal of the Military University of Land Forces 202, no. 4 (December 15, 2021): 690–701. http://dx.doi.org/10.5604/01.3001.0015.6174.
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In a modern democratic state, it is fully justified that local governments influence on energy policy. The most serious reasons for municipalities to pursue their energy policy include implementing principles such as decentralization, subsidiarity, autonomy, and independence by local governments. It should be remembered that local governments are public authorities acting to meet the local communities’ needs. In the Polish institutional conditions, local governments may be jointly responsible for the national energy policy only if they can create local energy policy based on their energy potential. Bearing in mind the above, the relationship between the local energy policy and the national energy policy is different for each commune, depending on a given territorial unit’s specific conditions. The specificity and quality of these relationships are also determined by the municipal authorities, which can approach the policies they create strategically or rely on improvisation. In the first case, local governments plan and implement specific activities that make up the energy policy process, while in the second case, they wait for the activity and involvement of government administration bodies.
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Shchukina, Galina O. "Organizing Integrated Сlasses in a Foreign Language." Vestnik of Kostroma State University. Series: Pedagogy. Psychology. Sociokinetics 29, no. 4 (April 2, 2024): 98–103. http://dx.doi.org/10.34216/2073-1426-2023-29-3-98-103.
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The article discusses the implementation of exercises adopted from acting, screenwriting, poetry, music, and drawing teaching to develop various foreign language skills. Taking into consideration the beneficial impact of poly-artistic approach to organizing the education process, the author attempts to apply tasks and techniques for professional creators training to ensure better learning outcomes, especially in terms of improvised speaking and writing. The integration of the arts in liason with the whole language approach creates an adequate basis for reaching the highest stage of a foreign language study – independent speaking improvisation for successful communication in any situation. The polyphony of images is a conducive atmosphere for forming the secondary linguistic identity of any learner. The hierarchy of the polyartistic experience by B.P. Jusov served the foundation for organizing a set of foreign language classes. The results have shown that shifting from the authoritative instruction in the EFL classroom to the polyphonic co-creation facilitates linguistic abilities of beginners and associative thinking of advanced learners regardless of their majors.
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Sutherland, Laura, Ruth E. Dunkle, Garrett T. Pace, Ariel Kennedy, and Pat Baldwin. "AN ACTING AND IMPROV CLASS: WELL-BEING AND COMMUNITY BELONGING FOR OLDER AFRICAN AMERICANS IN LOW-INCOME HOUSING." Innovation in Aging 3, Supplement_1 (November 2019): S144. http://dx.doi.org/10.1093/geroni/igz038.520.
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Abstract Arts-based interventions can enhance the quality of life of older adults, but community-dwelling older adults may have reduced access to such interventions. The purpose of this study was to examine whether a creative arts program can improve the overall health and well-being of older adults in low-income housing. A university social work department and community agency collaborated in establishing a professionally run theater group of older adults in two low-income housing buildings in an urban area. All residents were encouraged to participate. The study consisted of three twelve-week acting and improvisation courses, focusing on either staged reading of monologues and dialogues, co-writing a script, or staged reading of a complete play. Each class culminated in a public performance for the building. Fourteen participants enrolled, all African American (11 women, 3 men; mean age 66 years; mean ADL = 1.4 (range of 1-2.5)). Attendance on average was 8 classes. Data were collected through pre- and post-test questionnaires, participant observation of class sessions, semi-structured interviews with building managers, and post-session participant reflections. Thematic analysis was performed, and revealed key themes of increased community belonging, increased confidence, and increased daily coping abilities. Additional themes included the gaining of new artistic skills and interest in continuing classes. Barriers to participation included difficulty in recruitment and absence due to ongoing health conditions and caregiving responsibilities. This project has implications for the potential of arts-based programming to increase well-being for underrepresented community-dwelling older adults.
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Wiradarma, I. Ketut Gede Aditya. "Musical Creation Wong Wodha | Tabuh Kreasi Wong Wodha." GHURNITA: Jurnal Seni Karawitan 4, no. 2 (June 7, 2024): 236–43. http://dx.doi.org/10.59997/jurnalsenikarawitan.v4i2.3079.
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The mind is God's most valuable gift because it is with the mind that humans are said to be cultured creatures, and it is also the mind that leads humans to achieve the title of being dignified, superior and wise. A wise human being is a human being who is virtuous in acting, making decisions, and advising others. These things are done by paying attention to the welfare of everyone involved, not being subjective, selfish, or taking sides. Wise humans are usually also able to see and recognize patterns in certain situations before making decisions or acting. Moving on from human life which must adhere to the principles of wisdom, the principles of dharma made my intuition to package it into a form of creative percussion musical composition using the medium of Gong Kebyar gamelan with the title Wong Wodha which means a human who has intelligence, wisdom in the nature of a dignified and superior human being. Wong Wodha is quoted from the Kawi language with two syllables, namely wong and wodha, Wong which means human while Wodha means wisesan and wicaksana/wise. The creative method used in Wong Wodha's percussion creations is the method of Alma M. Hawkins which has several stages, namely: exploration, improvisation and forming. The creation of Wong Wodha's percussion work is divided into 4 parts, with the total duration of the work being 11 minutes. It is hoped that the realization of Wong Wodha's creative percussion work will increase the creativity of young artists in Bali to create a work that has the value of beauty and specialness in his creative percussion work.
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Bosenius, Petra. "Assessing Performative Competence in German ELF-Classrooms – The Task of Teachers and Learners." Scenario: A Journal of Performative Teaching, Learning, Research XI, no. 2 (July 1, 2017): 51–66. http://dx.doi.org/10.33178/scenario.11.2.4.
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When it comes to categorizing what pupils in a German English language classroom do when they are taking over roles and enacting scenes, a variety of terms is usually applied, e.g. acting-out, role-play, scenic play, drama-based education, scenic improvisation, to name but a few. Drama in English Language Teaching (ELT) enables pupils to change perspectives and put themselves into the shoes of other personae thereby learning English in a holistic and creative manner that equally appeals to all senses. The question arises how teachers (and learners) can assess drama activities in an EFL-context. In order for assessment formats to yield conclusive insights into the achievements to be gained in performative EFL-classrooms, the former have to be based upon a sound understanding of the essential elements the construct of performative competence comprises. Therefore, firstly a definition of performative competence will be presented and practical examples of drama activities related to different school levels within the German school system will be provided. Secondly, the teacher’s tasks during drama activities in the EFL-classroom will be discussed, and thirdly, the agents and goals of assessing drama activities in ELT will be outlined before one generic assessment sheet will be introduced and analysed in detail.
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Kļaviņa, Ilze. "Dramaturģijas komunikatīvie aspekti jaunākajās izrādēs bērnu auditorijai Latvijas un Baltijas teātru festivālos." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums, no. 28 (March 24, 2023): 41–48. http://dx.doi.org/10.37384/aplkp.2023.28.041.
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The question of the meaning of text and acting is becoming increasingly important in modern theatre practice when the expressive possibilities of stage works seem to have no limits. The processes show that the number of performances staging the texts of previously written pieces is decreasing, instead co-creation, improvisation, or performance is becoming the organising principle of the stage. The principles of a playwright’s work change, and the emphasis on the functions of the drama changes. One of the points of reference is the viewer and the interaction between the stage and the audience. The article uses a method developed by a group of Norwegian researchers to characterise different levels of interaction. Performances for young audiences were analysed, where the communication element is of particular importance, since the perceptions and cultural experiences of adult professionals and child audiences differ significantly. The typology of openness – the proximity of dramaturgy allows to describe the specifics of the actors’/performers’ activities and the level of audience participation. From a semiotic point of view, the accent shifts from the sender to the receiver, from the professional adult to the childlike viewer. From a performative point of view, open dramaturgy emphasises communication with the audience and the temporal dimension of the event, bringing the performance closer to the concept of a cultural event.
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Norzuraina Mohd Nor, Lee Hoi Yeh, Wong Yoke Seng, Siti Zubeidah Mohd Ariffin, Tajul Rosli Shuib, Amsalib Pisali, Amir Hashim, and Zainuddin Abindinhazir @ Abd. Rashid. "Active Learning on Students 'Interpersonal Skills Impact: An Online Theater Approach." Journal of Advanced Research in Applied Sciences and Engineering Technology 42, no. 1 (March 26, 2024): 226–38. http://dx.doi.org/10.37934/araset.42.1.226238.
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This study aims to examine the improvement of interpersonal skills through the application of active learning in the teaching and learning of art education. The approach used is the theatre-play approach. Theatre games are used as a fresh and appropriate approach to learning art education subjects through various types of games that are applied with various theatre techniques, including improvisation, role playing, physical exercise, and voice acting. The subject of art education is a theoretical and practical one that requires high focus during learning. Therefore, theatre games are applied to encourage active learning and prevent students from getting bored when learning is conducted online. Students play, act, improvise, and sing while learning. This qualitative study involved eight Form 5 students at the Malaysian Art School using observation and interview methods. The study applies social learning theory and constructivist learning theory. The data was thematically analysed using Nvivo software. Findings found that active learning takes place in learning through the application of a theatre game approach and highlights the interpersonal skills of students. Two-way communication occurs in every activity because the activity is carried out in groups. Studies on the learning of art subjects that apply this active learning through theatre games are believed to promote confidence and stimulate students to improve their interpersonal skills without realising it.