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1
Soule, Lesley Anne. "Character, actor and anti-character". Thesis, University of Exeter, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.387186.
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CRESPO, DANIEL RISI VIANNA. "THE DIGITAL ACTOR: A CHARACTER DESIGN PERSPECTIVE". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2008. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=12251@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROEsta dissertação tem como objetivo analisar os aspectos de design envolvidos na credibilidade de personagens geradas através de computação gráfica, que operam como efeitos especiais em filmes de ação ao vivo. Para isto, é apresentada a hipótese de que se trata de uma categoria ontologicamente discreta de personagens - propondo-se a nomenclatura atores digitais para designá-la - cujo processo de design se baseia em três contextos de desenvolvimento: os níveis diegético, imagético e tecnológico. Essa proposição é investigada através da metodologia do estudo de caso, utilizando-se a criatura Gollum, da trilogia cinematográfica O Senhor Dos Anéis (2001-2003). A análise das variáveis intrínsecas a cada um dos contextos citados indica que, de fato, essas personagens clamam por uma abordagem original de design, sugerindo novos papéis e novas habilidades para o designer.
This paper aims to analyze the design aspects responsible for the believability of computer generated characters in live-action movies. This research proposes the hypothesis that synthetic thespians constitute an ontologically distinct category of characters - to which the term Digital Actor is proposed - based upon a design process that involves three development contexts: the diegetic, the perceptual and the technological levels. In order to carry out such investigation, the case study methodology is used, in which the creature Gollum, from the movie trilogy The Lord of the Rings (2001-2003) is analyzed. The intrinsic variables investigated in this case show that Digital Actors in fact suggest an original design approach and therefore a new role for the designer.
3
Haarhoff, Emil Ernst. "Embodied shiftings to bridge actor-character dissonance". Thesis, University of Pretoria, 2020. http://hdl.handle.net/2263/78618.
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When a script stipulates actions, gestural routines and mental models for a character that
clash with the personal values of the actor, it creates dissonance between what the actor (as
person) believes, represents or feels, and that which the character (as fictional construct) is
interpreted to represent. This dissonance may negatively impact on the believability of the
actor inhabiting the ‘as if’ world of the character, or stifle actor engagement with the fictional
world. This study proposes a theoretical approach to navigating this potentially performance-
restricting dissonance through a cross-disciplinary approach that draws on various disciplines,
theories and models. It includes, but is not limited to embodiment, Neuro-Linguistic
Programming, Multi-Level Neuro Processing and exposure strategies.
Habitual patterning, personal restrictions, behaviours, values, socio-cultural and politico-
historical paradigms, socialisation, cognitive dissonance, impulse avoidances and others are
subjectively sculpted and embodied in and through lived experiences. In articulating this
approach, the study places emphasis on practical guiding and enabling of the actor to manage
these embodied and lived experiences, personal values and subjective restrictions in relation
to performance material that the actor perceives to be challenging and uncomfortable.
This study aims to facilitate ways to navigate actor-character dissonance, whilst remaining
sensitive to actors and their respective processes in engaging with, and depicting, a character
in a competent and believable manner. Instead of forcing actors to work through restrictions
or preventing talented actors from auditioning or participating in a production due to their
seemingly unmanageable dissonances and bodyminded non-consent, this study argues for
possible solutions to manage contradictory values and stances respectfully, through a
multilayered and multidisciplined process.
This empirical study was located in a qualitative research paradigm, using qualitative
methodologies. The intervention design was based on existing scholarship, as reflected in
chapters two to five. To limit the scope of the study, the focus was on nudity and the intimacy surrounding nudity in performance. The study used action research to strategise, implement
and reflect on the practical intervention strategy. Data collection took place through practice-
based experiences and observations. The research process was realised in three phases
ranging from private to semi-public, to explore the hypothetical strategy with a selection of
trained male actors. The research phases are discussed in chapters one and six. Phase one
consisted of three one-on-one conversation-based coaching sessions calibrating and
unpacking the participants’ thinking, perspectives, perceived consequences and limiting
beliefs regarding performance-based nudity. Phase two was an optional phase and
participants volunteered to engage in this phase after completing phase one. This phase
consisted of a three-day workshop, implementing and embodying the tailored research
techniques and strategies to alleviate discomforts regarding performance-based nudity.
Phase three was another optional phase. Here, the intervention strategy was applied to text.
A new play was written specifically for these purposes, entitled Love, and how? This play
offered an array of actions which challenged the actors’ subjective and unique discomforts.
The purpose of this challenge was to assess the hypothetical facilitation strategy in a real-life
simulation of a professional rehearsal process, culminating in two closed performances.
The qualitative findings of this study conclude that the integration of these multidisciplinary
processes aid the actors in alleviating tension and approaching dissonance in performance
with increased control and nuanced acting. In addition, they introduced mid-performance
coping mechanisms, derived from these processes, thus enabling the actor to continue to
perform safely.Thesis (PhD)--University of Pretoria, 2020.
Drama
PhD
Unrestricted
4
Turri, Maria Grazia. "A psychoanalytic perspective on theories of spectator-character and actor-character identification in the theatre". Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/18738.
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From Aristotle’s theory of tragic katharsis to Brecht’s formulation of the Verfremdungseffekt, theorists of the theatre have long engaged with the question of what spectatorship entails. Such question has, directly or indirectly, extended to the investigation of acting. In the wake of Brecht’s critique of conventional theatre, emphasis has been put on the study of spectatorship from the point of view of its cultural determinants and its conscious cognitive aspects, while unconscious processes have been mostly ignored. In this thesis I take a psychoanalytic perspective to analyse theories of the theatre that have investigated the process of identification of the spectator or the actor with the character. According to psychoanalysis, mechanisms of unconscious identification, such as projection and introjection, are fundamental to psychic development and to the construction of the self. By analysing Aristotle’s theory of tragic katharsis through Freud’s theory of transference, I propose a new understanding of spectatorship as transference dynamic. I then conduct an in-depth enquiry into eighteenth-century theories of acting which lead up to Diderot’s Paradoxe sur le comédien. I investigate the paradox of the actor, in its fruitful tension between sensibility and understanding, from the perspective of Melanie Klein’s concept of unconscious phantasy and Bion’s theory of alpha-function. I hence interpret the art of the actor as the performing of alpha-function on the spectator’s unconscious emotions. The new insights afforded by a psychoanalytic perspective of spectating and acting illuminate the moral function of theatre and resolve some of the controversial points brought forward by various theorists, including Brecht and Rousseau. The moral function of theatre can be construed as a transpersonal process in which unconscious identifications between spectator and actor promote the development of a reflective view of the self.
5
Wilson, Chris. "Margaret Rutherford, Alastair Sim, eccentricity and the British character actor". Thesis, Sheffield Hallam University, 2005. http://shura.shu.ac.uk/17393/.
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The thesis is in the form of four sections, with an introduction and conclusion. The text should be used in conjunction with the annotated filmography. The introduction includes my initial impressions of Margaret Rutherford and Alastair Sim's work, and its significance for British cinema as a whole. In order to determine their enduring appeal, the first section, 'Biographical Perspectives', uses the actors' respective biographies to combine their very distinct identities, anchor them in the time in which they lived, and indicate their value and importance to the industry. The second chapter explores the complex relationship between the British cinema and the theatre, especially as it is revealed in the work of both actors. There follows a survey which addresses notions around Britishness and eccentricity, and their interconnections, their representation in Sim and Rutherford's films, and recent debates about what these attributes constitute now. The fourth part engages in a broader discussion of the art of character acting and the specific contribution made by the screen appearances of the two stars. If the introduction and subsequent chapters attempt to bring Sim and Rutherford together, the conclusion presents the contrasts between them. However, their continuing fascination is very much revealed through the interaction of their life and work and especially the influence of their respective spouses. The relationship between their stage and cinematic output informs some of their best work in both media, although their Britishness and eccentricity can, at different times, be both an asset and a limitation. Ultimately, Sim and Rutherford are defined as flexible and diverse character actors, although a synthesis of their various aspects - cinematic, theatrical, eccentric, British, character actors - offers a more complete designation of their individuality. Above all, they exemplify the primacy of performance in British cinema. Future research might concentrate on their theatre work or reactions to them by their fellow actors, and could also usefully incorporate the largely unrecognised legacy of so many other character players.
6
Councell, Catie. "Killing the goose". Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6087.
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This statement of process parses out the techniques utilized when creating a character for performance, specifically focused on examples from three years of graduate studies in acting. The paper identifies and analyzes the challenges an actor encounters, and the tools an actor utilizes when crafting a character. The goal of the process paper is to identify common techniques generally, as well as examining specific techniques used infrequently. The paper concludes with a statement of the state of the artist.
7
Witting, Carrie L. "The character within the actor a journey through myself to find Manya /". Morgantown, W. Va. : [West Virginia University Libraries], 2005. https://etd.wvu.edu/etd/controller.jsp?moduleName=documentdata&jsp%5FetdId=4017.
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Tukachinsky, Riva. "Processing Mode and Actor-Character Congruency as Moderators of Narratives' Effects on Viewers' Attitudes". Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/222836.
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The study examined the ways in which individuals manage inconsistent information about actors and fictional character that the actors play. Previous research suggested that people tend to attribute characters' characteristics to the actors. Therefore, actor-character inconsistency might be deemed as hypocritical and undermine the effects of the media content. However, this effect was hypothesized to be moderated by information processing mode. Specifically, when viewers transport into the narrative, namely, become absorbed in the story, they are not able to integrate actor information with character information. Similarly, when processing the message heuristically, viewers lack sufficient cognitive resources to integrate actor information. Thus, it was hypothesized that character incongruence will only diminish media effects when viewers process the media content critically. These hypotheses were explored in the context of perceptions of cosmetic surgery and sexual objectification of women. Participants read a fictitious interview in which the actor Raymond Romano expressed either approval of breast augmentation procedures or criticized this practice. Then, participants watched an edited segment from an Everybody Loves Raymond episode in which Romano played the role of a character that encouraged his wife to undergo cosmetic surgery. Viewers were requested to engage in issue elaboration, encouraged to transport into the show (narrative elaboration) or had to complete a distraction task while watching (heuristic processing). They listed all the thoughts they had during the media exposure and completed questionnaires assessing attitudes towards cosmetic surgery and sexual objectification of women. The same measures were completed again, one week after the lab session. Analysis of viewers' reported thoughts indicated that the manipulation successfully induced the different types of processing. Further, participants in the issue elaboration condition tended to generate both message consistent thoughts and counter-augments, whereas participants in the narrative elaboration condition generated few counter-arguments. In the heuristic processing condition, viewers listed very few thoughts, and did not counter-argue with the message. However, narrative consistent or inconsistent thoughts did not affect persuasion. Finally, incongruence between the actor and the character did not reduce persuasiveness of the message or hinder actor's likability, suggesting that viewers successfully maintain separate actor and character schemas.
9
O'Rourke, Kevin. "Performing The Zoo Story and writing Morality Day two character development processes exploring character development challenges for the actor and the playwright /". Connect to resource, 2009. http://hdl.handle.net/1811/37146.
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Egocheaga, Ramos Karina Ximena. "La complementación entre el guion, actuación y la dirección de arte para la creación del personaje Kevin Wendell Crumb en la película Fragmentado". Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/652125.
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El presente trabajo de investigación abarca el tema de la complementación en el guion, actuación y dirección de arte para la creación del personaje de Kevin Wendell Crumb. Esto se debe a que muchas veces, no se toman en cuenta estos elementos para crear determinados personajes en las películas.The present research work covers the subject of complementation in the script, acting and art direction for the creation of the character of Kevin Wendell Crumb. This is because many times, these elements are not taken into account to create certain characters in the films.
Trabajo de investigación
11
Santos, Adriana Maria dos. "A esquizofrenia como recurso de construção da personagem contemporânea". Master's thesis, Universidade de Évora, 2017. http://hdl.handle.net/10174/20785.
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“A esquizofrenia como recurso de construção da personagem contemporânea” é o título do projeto final da pesquisa de natureza teórico-prática desenvolvida na finalização do curso de mestrado em Teatro. O presente documento se divide em três fases, sendo a primeira de recolha de material sobre esquizofrenia e seus desdobramentos na psicopatologia e no teatro. A segunda fase é a da construção da personagem de acordo com o comportamento sintomático dos esquizofrênicos. Foram adaptadas algumas ferramentas da preparação do ator do Sistema Stanislavski para o trabalho de direção da atriz. A última fase é sobre os desdobramentos da personagem e suas interferências na estrutura da construção do espetáculo. A criação da personagem me fez refletir sobre a utilização do ator autobiográfico substituindo o personagem convencional no teatro contemporâneo. A pesquisa partiu para a investigação de como construir uma estratégia de ação para fundir o ator autobiográfico com os sintomas da esquizofrenia, construindo assim a personagem contemporânea; ABSTRACT: "Schizophrenia as building feature contemporary character" "Schizophrenia as building feature contemporary character" is the title of the final design of the theoretical and practical research carried out on completion of the Master's degree in Theatre. This document is divided into three phases, the first collection of material on schizophrenia and its consequences in psychopathology and theater. The second stage is the character of the construction according to the symptomatic behavior of schizophrenics. some tools of the Stanislavski System actor's preparation for working toward the actress were adapted. The last phase is on the unfolding of the character and its interference in the spectacle frame construction. The creation of the character made me reflect on the use of autobiographical actor replacing the conventional character in contemporary theater. The research started to research how to build an action plan to merge the actor autobiographical with the symptoms of schizophrenia, thereby building a contemporary character.
12
Kemppi, Mattias y Joakim Rand. "Characters of You : En undersökning om identiteter i spelkaraktärer". Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-16421.
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Med det här kandidatarbetet vill vi belysa en alternativ väg att gå för att ge även de karaktärer som inte är knutna till det narrativa en större och mer betydelsefull plats inom digitala spel. Tillsammans med Bruno Latours Actor-Network Theory undersöker vi relationer mellan bland annat tid, plats och den vardagliga människan. Med observationer som startpunkt undersöker vi hur en identitet kan brytas ner för att omformas till något nytt, något som kan skapa en känsla av unikt och levande till den annars relativt tomma existens som är en ickespelbar karaktär. För att ta det här steget blir begreppet persona en viktig beståndsdel i skapandet av något mer lekfullt och livfullt. Genom att forma identiteter baserade på observationer och sedan förstå relationen mellan dessa identiteter och dess fiktiva egenskaper skapar vi personas med egna behov och bekymmer. Detta kandidatarbete kommer att förklara olika metoder och processer till att skapa karaktärer och sedan analysera och diskutera resultatet i form av animationer där individers unika egenskaper och attribut förklaras och visualiseras.With this bachelor thesis we want to shine a light upon an alternative path to take when it comes to giving characters that is not hard knitted to the narrative a greater and more meaningful place inside a digital game. Together with Bruno Latour's Actor-Network Theory we research the relations between time, place and the everyday person. With observation as a starting point we look at how we can break down an identity to reshape and make something new from it, something that can create a lifelike and unique feeling in the otherwise relatively plain and empty existence that is a non-playable character. For us to be able to take that step we include the concept of persona, an important factor in creating something more full of fun and life. Through the shaping of identities based on observation and understanding the relationship between these identities and their fictive attributes a persona is created with its own needs and worries. This bachelor thesis will also explain the methods and processes needed to create characters followed by analysing and discussions based on the results, the animation of the unique attributes of individuals and how it is explained and visualised.
13
Bennett, Joel Craig. "Immersive performance environment: A framework for facilitating an actor in virtual production". Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/203911/1/Joel_Bennett_Thesis.pdf.
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Virtual Production is a relatively new concept that covers a broad selection of production approaches focused on combining physical and virtual content together in real-time. However, Virtual Production currently has perceptual limitations that impact on an actor's understanding of the virtual environment during a performance. This study explored various approaches to address this limited perceptual experience by minimising an actor's responsibility for the systems found in Virtual Production. The findings of the study led to the creation of a conceptual framework that can be used to facilitate an actor's perceptual experience of a virtual environment during a performance.
14
Guse, Cristine Bello. "O cantor-ator : um estudo sobre a atuação cênica do cantor na ópera /". São Paulo : [s.n.], 2009. http://hdl.handle.net/11449/95096.
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Orientador: Martha HerrBanca: Mirna Rubin
Banca: Káthya Ayres de Godoy
Resumo: Tendo em vista a exigência do cantor de ópera atual possuir não somente uma excelente técnica vocal e musical, mas também uma competente desenvoltura cênica, e, levando em consideração que estas habilidades cênicas são desenvolvidas pelo cantor na maioria das vezes de forma autodidata, este trabalho tem como objetivo pesquisar conhecimentos que possam auxiliar no desenvolvimento destas habilidades por jovens cantores que careçam de orientação nesta área ao ingressarem no mercado de trabalho. Esta pesquisa baseia-se principalmente em teóricos que já abordaram a questão específica da atuação cênica do cantor de ópera.
Abstract: Considering the demands presently made upon the opera singer to have not only an excellent vocal and musical technique, but also a competent capacity scenically, and taking into account that these scenic abilities are usually self-taught, the objective here is to research theoretical tools that will aid the young singer entering the job market and who lacks orientation in this area to develop these abilities. Research is based on works that approach the specific subject of the opera singer' scenic performance.
Mestre
15
Spiropoulos, Alexander. "Internal Consistency : Ett steg bort ifrån sexistiska karaktärsporträtteringar inom spel". Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-10730.
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Idag råder det en ständig debatt om hur kvinnor porträtteras inom spel och vad för betydelse det har på oss spelkonsumenter. Tidigare forskning och studier påvisar att kvinnliga karaktärer inom spel är betydligt mer sexualiserade än deras manliga motsvarigheter. I det här arbetet behandlas min frågeställning: ” Vad är det för faktorer när det kommer till visuell design inom spelvärlden som gör sexualiserade karaktärsporträtteringar av kvinnliga karaktärer icke konsistenta i jämförelse med deras manliga motsvarigheter?” Genom en djupgående undersökning om karaktärsporträttering och bildanalys av en samling speltitlar från år 2010-2015, kunde en slutsats dras att upprätthållandet av en intern logisk kontinuitet inom karaktärsporträtteringen kan vara ett steg bort ifrån sexualiseringen av spelkaraktärer.Today there is a constant debate about how women are portrayed in games and what effect is has on us game consumers. Past research and studies show that female characters in games are considerably more sexualized than their male counterpart. In this thesis my question formulation discuss “What are the factors when it comes to visual design in the gaming world that makes sexualized character portrayal of the female character non consistent compared to their male counterpart?” Through a thorough inquiry about character portrayal and image analysis of a collection of game titles from year 2010-2015, a conclusion could be made that the upholding of an internal and logical consistency within the portrayal of characters could be a step against the sexualisation of video game characters.
16
Guse, Cristine Bello [UNESP]. "O cantor-ator: um estudo sobre a atuação cênica do cantor na ópera". Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/95096.
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guse_cb_me_ia.pdf: 1363595 bytes, checksum: 6c059a7dd653a92c5e4d9117b185b991 (MD5)Universidade Estadual Paulista (UNESP)
Tendo em vista a exigência do cantor de ópera atual possuir não somente uma excelente técnica vocal e musical, mas também uma competente desenvoltura cênica, e, levando em consideração que estas habilidades cênicas são desenvolvidas pelo cantor na maioria das vezes de forma autodidata, este trabalho tem como objetivo pesquisar conhecimentos que possam auxiliar no desenvolvimento destas habilidades por jovens cantores que careçam de orientação nesta área ao ingressarem no mercado de trabalho. Esta pesquisa baseia-se principalmente em teóricos que já abordaram a questão específica da atuação cênica do cantor de ópera.
Considering the demands presently made upon the opera singer to have not only an excellent vocal and musical technique, but also a competent capacity scenically, and taking into account that these scenic abilities are usually self-taught, the objective here is to research theoretical tools that will aid the young singer entering the job market and who lacks orientation in this area to develop these abilities. Research is based on works that approach the specific subject of the opera singer' scenic performance.
17
Gosselin, Danielle. "An actor's approach: stepping into a role and a world of the past". Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5637.
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To step into a character and a world of the past, the actor must not discard the present, but seek to find connections and links between the worlds. I was cast in the Orlando Shakespeare Theater production of Sense and Sensibility, a Jon Jory adaptation of Jane Austen's novel, in the role of Lucy Steele. This was an equity production, and it ran February 6th – March 17th, 2013, in the Orlando Shakespeare Theater's Margeson Theater. Lucy is a female character from England in a period often referred to as the Regency era. As a woman from today's United States of America, first I explored how Lucy's words and actions fit into the society of her time, and second I explored how I, a contemporary actor, could organically step into her shoes. One of the greatest tools I had to help me address these questions was the playwright himself, Jon Jory. He was at the Orlando Shakespeare Theater for the 2012 Harriett Lake Festival of New Plays, during which he gave a keynote address and taught a master class in acting, in which I participated. Furthermore, I had the unique opportunity to personally interview him regarding Sense and Sensibility and his connection to the world of Austen and her characters. Along with applying this insight, I applied tools from his acting master class to my work on his Sense and Sensibility text. This special access to the playwright greatly influenced the work and served as a key into Lucy's world. In addition to working with the playwright, I further researched Austen and her work, because Lucy and her world originate there. I explored various resources about England's Regency era society and the role of women in this society. By comparing the world and people of the play to the current cultural and political landscape with which I am most familiar, I found fundamental links between people living in different times and places, breaking down walls between Lucy's world and my own. Finally, this performance thesis project utilized the practical acting, voice, and movement skills, which I cultivated in my studio work as an MFA acting candidate at the University of Central Florida. It was a wonderful opportunity as an aspiring young actor to participate in an equity production and work with professional actors. I exercised my stage dialects training by using a standard British dialect, and I applied what I learned in my theatre styles acting class and in various movement classes to develop the behavior and physicality of my character. In order to preserve the new information gained from this study, I chronicled my explorations and discoveries throughout the rehearsal and production process. Through my work with the playwright Jon Jory, my research on Jane Austen and the Regency era, and my application of what I learned in the studio, I strove to create a model process for an actor to utilize when stepping into a role and a world of the past.M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Acting
18
Ninin, Roberta Cristina. "Projeto Comédia Popular Brasileira da Fraternal Companhia de Arte e Malas-Artes (1993-2008) : trajetória do ver, ouvir e imaginar /". São Paulo : [s.n.], 2009. http://hdl.handle.net/11449/86873.
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Orientador: Mario Fernando BolognesiBanca: Alexandre Luiz Mate
Banca: Sergio Ricardo de Carvalho Santos
Resumo: O principal objetivo da presente pesquisa é registrar e compreender a trajetória do Projeto Comédia Popular Brasileira (CPB) e, consequentemente, da Fraternal Companhia de Arte e Malas-Artes por meio das personagens criadas durante 15 anos de pesquisa estética (1993-2008). São objetos de análise os projetos específicos desenvolvidos a cada fase do Projeto CPB, suas respectivas peças e espetáculos, concepções de personagens, o trabalho e formação dos atores e a relação estabelecida com o alvo principal de sua vida teatral: o público. Em sua primeira fase (1993-1997) - VER, a Fraternal cria personagens-tipo brasileiras, influenciada pelos comediógrafos Martins Pena, Artur Azevedo e Ariano Suassuna, retomando o diálogo com os tipos fixos da commedia dell'arte. Na segunda fase (1998-2001) - OUVIR, as personagens-tipo cedem o protagonismo às personagens inspiradas nas festas populares medievais, pautadas no estudo teórico de Mikhail Bakhtin. E, na terceira fase (2002-2008) - IMAGINAR, atores saltimbancos apresentam as personagens por meio da narração e da representação. Neste período, a Cia. aprofunda sua prática no jogo cênico estabelecido entre personagens, atores e narradores para a construção dramatúrgica e interpretativa de seus espetáculos, inspirada em Bertolt Brecht e Luigi Pirandello. A escolha de personagens como interlocutoras dos anseios e da história do povo brasileiro refletiu, desde o início, a específica visão de mundo e de cultura popular adotada pela Fraternal, referendada no ponto de vista contrário ao da classe dominante, o da classe dominada, visão reveladora e regeneradora. Dario Fo (1999), Mikhail Bakhtin (1987), Walter Benjamin (1994) e Bertolt Brecht, pautados tanto no que concerne a uma apreensão da encenação e da interpretação cômica, quanto a seus posicionamentos críticos... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The present research aims at recording and understanding the trajectory of the Projeto Comédia Popular Brasileira (CPB) and, consequently, of the Fraternal Companhia de Arte e Malas-Artes, through the characters created during the 15 years of esthetical research (1993-2008). The objects of this analysis are the specific projects developed at each phase of the CPB Project, their respective plays and spectacles, the conception of the characters and actors' work and formation as well as their relation with their main target: the audience. During its first phase (1993-1997) - SEE, Fraternal creates Brazilian-type characters, influenced by the comedians Martins Pena, Artur Azevedo and Ariano Suassuna and reestablishing the dialogue with the fixed types of commedia dell'arte. In its second phase (1998-2001) - HEAR, the character-types give space to characters inspired by medieval popular parties/festivals, based on the study of Mikhail Bakhtin. Finally, in its third phase (2002-2008) - IMAGINE, acrobat actors introduce the characters through narration and acting. In this period, the Society deepens its practice through the scenic interplay between characters, actors and narrators for the dramaturgical and interpretive construction of its spectacles, which was inspired by Bertolt Brecht e Luigi Pirandello. The choice of characters as interlocutors of Brazilian people history and wishes reflected, since the very beginning, the specific world and popular culture view taken by Fraternal which is opposed to the dominant class' one. Conversely, it meets the dominated class' view in a revealing and regenerative way. Dario Fo (1999), Mikhail Bakhtin (1987), Walter Benjamin (1994) and Bertolt Brecht, guided by what concerns staging and comic interpretation/acting as well as by their critical view of the artistic activity, were... (Complete abstract click electronic access below)
Mestre
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Ninin, Roberta Cristina [UNESP]. "Projeto Comédia Popular Brasileira da Fraternal Companhia de Arte e Malas-Artes (1993-2008): trajetória do ver, ouvir e imaginar". Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/86873.
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O principal objetivo da presente pesquisa é registrar e compreender a trajetória do Projeto Comédia Popular Brasileira (CPB) e, consequentemente, da Fraternal Companhia de Arte e Malas-Artes por meio das personagens criadas durante 15 anos de pesquisa estética (1993-2008). São objetos de análise os projetos específicos desenvolvidos a cada fase do Projeto CPB, suas respectivas peças e espetáculos, concepções de personagens, o trabalho e formação dos atores e a relação estabelecida com o alvo principal de sua vida teatral: o público. Em sua primeira fase (1993-1997) – VER, a Fraternal cria personagens-tipo brasileiras, influenciada pelos comediógrafos Martins Pena, Artur Azevedo e Ariano Suassuna, retomando o diálogo com os tipos fixos da commedia dell´arte. Na segunda fase (1998-2001) – OUVIR, as personagens-tipo cedem o protagonismo às personagens inspiradas nas festas populares medievais, pautadas no estudo teórico de Mikhail Bakhtin. E, na terceira fase (2002-2008) – IMAGINAR, atores saltimbancos apresentam as personagens por meio da narração e da representação. Neste período, a Cia. aprofunda sua prática no jogo cênico estabelecido entre personagens, atores e narradores para a construção dramatúrgica e interpretativa de seus espetáculos, inspirada em Bertolt Brecht e Luigi Pirandello. A escolha de personagens como interlocutoras dos anseios e da história do povo brasileiro refletiu, desde o início, a específica visão de mundo e de cultura popular adotada pela Fraternal, referendada no ponto de vista contrário ao da classe dominante, o da classe dominada, visão reveladora e regeneradora. Dario Fo (1999), Mikhail Bakhtin (1987), Walter Benjamin (1994) e Bertolt Brecht, pautados tanto no que concerne a uma apreensão da encenação e da interpretação cômica, quanto a seus posicionamentos críticos...
The present research aims at recording and understanding the trajectory of the Projeto Comédia Popular Brasileira (CPB) and, consequently, of the Fraternal Companhia de Arte e Malas-Artes, through the characters created during the 15 years of esthetical research (1993-2008). The objects of this analysis are the specific projects developed at each phase of the CPB Project, their respective plays and spectacles, the conception of the characters and actors' work and formation as well as their relation with their main target: the audience. During its first phase (1993-1997) – SEE, Fraternal creates Brazilian-type characters, influenced by the comedians Martins Pena, Artur Azevedo and Ariano Suassuna and reestablishing the dialogue with the fixed types of commedia dell´arte. In its second phase (1998-2001) – HEAR, the character-types give space to characters inspired by medieval popular parties/festivals, based on the study of Mikhail Bakhtin. Finally, in its third phase (2002-2008) – IMAGINE, acrobat actors introduce the characters through narration and acting. In this period, the Society deepens its practice through the scenic interplay between characters, actors and narrators for the dramaturgical and interpretive construction of its spectacles, which was inspired by Bertolt Brecht e Luigi Pirandello. The choice of characters as interlocutors of Brazilian people history and wishes reflected, since the very beginning, the specific world and popular culture view taken by Fraternal which is opposed to the dominant class' one. Conversely, it meets the dominated class' view in a revealing and regenerative way. Dario Fo (1999), Mikhail Bakhtin (1987), Walter Benjamin (1994) and Bertolt Brecht, guided by what concerns staging and comic interpretation/acting as well as by their critical view of the artistic activity, were... (Complete abstract click electronic access below)
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Mascarau, Ève. "Remonter le fleuve de l’empirisme : Louis Jouvet, le comédien et le personnage de théâtre dans les leçons au Conservatoire (1939-1940 ; 1947-1951)". Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100110.
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Louis Jouvet a toute sa vie écrit et pensé l’art dramatique, s’essayant à tous les métiers du théâtre, depuis ses débuts en tant que régisseur jusqu’à ses expériences de metteur en scène et bien évidemment d’acteur. Dans ses leçons au Conservatoire, données de 1934 à 1940 puis de 1947 à 1951, il tente de mettre en mots, pour ses élèves, le « mystère » du théâtre, qui ne vit que dans l’instant du jeu et se dérobe sitôt celui-ci terminé. Il construit pour ce faire un édifice mental dont les personnages sont le cœur. Venus visiter les auteurs dramatiques véritables au moment de l’écriture, ils sont ceux dont l’acteur, s’il veut devenir comédien et parvenir à la désincarnation, doit se mettre en quête. Afin de comprendre comment Jouvet invente une logique qui lui permet à la fois de transmettre le fruit de son expérience et de maintenir l’énigme, nous avons procédé à une analyse systématique des classes. De celle-ci émerge non une « méthode » ou un « système » Jouvet mais une pensée moins contradictoire qu’il n’y paraît, portée par un vocabulaire inlassablement repris et d’où émergent de fortes constantes. La première partie de la thèse analyse la pensée générale du théâtre selon Jouvet et la place décisive qu’il accorde aux personnages, de façon à comprendre comment il situe son rôle d’enseignant du premier XXe siècle. La deuxième reprend et développe les différents modes d’approche des personnages dramatiques, selon leur genre, leur auteur et leur type. La troisième envisage plus spécifiquement le temps de la rencontre, dans le jeu, entre le comédien et le personnage, dans une redéfinition du Paradoxe de Diderot, dont Jouvet repense les termes selon la logique poético-mystique qu’il échaffaudeThroughout his life, Louis Jouvet reflected on and wrote about the dramatic arts, exercising all of the different trades of the Theatre field, from his beginnings as a stage manager to his experiences as a director and, obviously, as an actor. In his lessons as a teacher at Paris’ drama school, from 1934 to 1940 and from 1947 to 1951, he strived to pass on to his students the “mystery” of the Theatre, alive only in the instant of the play and elusive as soon as it is over. To do so, he erects a mental structure whose pillars are the characters. As the inspirers of the genuine dramatic authors, the characters are the ones every actor must seek if he is to become a comedian and reach disembodiment. To understand how Jouvet invents a structure that would allow him to impart the lessons of his experience and, at the same time, maintain the mystery, we analyzed all of his lessons in a systematic way. From there, what comes to light is not a “Jouvet method” nor a “Jouvet system”, but a vision that’s not as contradictory as it would seem, supported by a very recurring vocabulary, and from which emerge a few strong constants.The Thesis’ first part analyzes Jouvet’s general vision of the Theatre and the key role he assigns to characters, as a means to understand how he defines his role as a teacher during the first half of the XXth century. The second part delves into Jouvet’s different perspectives on characters, according to genre, author and type. The third one explores more specifically the moment in which, through the play, comedian and character meet, in a redefinition of Diderot’s paradox reshaped by Jouvet’s original logic, both logical and mystic
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Harkins, Michael Ashley. "Steel Magnolias: An Actor Directs". ScholarWorks@UNO, 2006. http://scholarworks.uno.edu/td/356.
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This thesis is an endeavor to accurately document and define my actor coaching process as a director through Robert Harling's Steel Magnolias. The following chapters contain a record of the development of my actor coaching process in this production, including character & actor analysis, a rehearsal log that provides a daily track of my progress, and an evaluation of the process and resulting performance.
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Daher, Katia. "Sob o olhar da Sobrete: a linguagem do circo-teatro brasileiro na Cia. Os Fofo Encenam". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-31052017-102623/.
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Esta pesquisa é o olhar, de uma atriz-sobrete, sobre a linguagem teatral desenvolvida desde 2003 na Cia. Os Fofos Encenam a partir do diálogo com a tradição do circo-teatro brasileiro. O ator e diretor Fernando Neves conduz o trabalho na Cia. e, ao longo dos anos, dedicou-se também ao trabalho pedagógico cujo eixo é a cena convencional que considera a especialização em determinado tipo de papel - como no antigo sistema de emplois; suspendendo, entretanto, a poética do teatro de convenção - para tomá-la como meio de manifestação de um temperamento artístico do ator. Tal procedimento situa o ator na exploração da linguagem teatral circense guiando a composição da personagem-tipo através da qual o ator, dispondo-se ao contato direto com o público, deverá operar a cena. O desenvolvimento deste processo, pedagógico e de criação, é abordado na presente pesquisa na intenção de refletir sobre o modo de operação de uma poética cênica convencional, revelando a dinâmica que a inspira e as estratégias do ator para operá-la, considerando o trabalho da Cia. Os Fofos Encenam em diálogo com a tradição do ator popular.This study is the look of a sobrete actress about the theatrical language developed since 2003 by the company Os Fofos Encenam from the dialogue perspective with the brazilian drama-circus tradition. The actor and director Fernando Neves conducts the work of the group and, through the years, also devoted himself to the pedagogic work, which the pivot is the conventional scene that takes into consideration the specialization in a certain type of role - as in the old emploi system. Yet, the poetics of the theater of convention is suspended in order to be taken as means of manifestation of an artistic temperament of the actor. This procedure situates the actor in the exploration of the circus theatrical language guiding the type-character composition, through which the actor, making him/herself ready for direct contact with the audience, should operate the scene. This study approaches the development of this process, pedagogic and of creation, to reflect upon the modus operandi of the poetics of conventional scene, revealing the dynamics that inspires it and the actor\'s strategies to operate it, considering the work of the theater company Os Fofos Encenam in dialogue with the tradition of the popular actor.
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Daniellou-Molinie, Celia. ""Si ça n'avait pas été vous, j'aurais eu peur". Qu'est-ce qu'incarner un personnage "méchant"? Des projections fantasmatiques au quotidien des répétitions : l'exemple du Théâtre du Soleil". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA037.
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D’Esope, acteur romain, à Heath Ledger, star hollywoodienne, de nombreuses sources rapportent des cas d’acteurs « possédés » par leur personnage de méchant. Mythes sans fondement ? Elucubrations de spectateurs en quête de frissons, voire stratégie commerciale ? Peut-être, mais là n’est pas l’essentiel : qu’elles soient véritables ou fantasmées, le nombre et la constance de ces anecdotes au fil de l’histoire en montrent bien l’importance. Notre imaginaire de spectateur semble nourri de ces dérapages fantasmés, de ces histoires d’acteurs s’étant, selon l’expression consacrée, « perdus dans leur rôle » - parfois jusqu’à en mourir.Après s’être intéressé brièvement à certaines de ces anecdotes, à ce qu'elles révèlent de notre rapport à la scène, ce travail propose un renversement de perspective : il s’agit d’interroger la possibilité d’un risque de confusion entre acteur et personnage, non plus à travers le prisme du regard porté sur le comédien, mais en s’intéressant au vécu des acteurs eux-mêmes – en tentant de se dégager des projections fantasmatiques pour essayer de comprendre ce qui se passe, réellement, « dans la tête d’un comédien » devant incarner un personnage méchant. A cette fin, nous nous intéresserons au travail de l’acteur dans ce qu'il a de plus concret, de plus anodin en apparence, du maquillage au cœur qui bat, des douleurs de genoux aux bouffées de plaisir, des rituels d’avant-spectacle aux rires ou aux larmes d’après-spectacle, des tensions à la complicité entre partenaires. Nous plongerons pour cela dans le quotidien des acteurs du Théâtre du Soleil, à travers une vaste étude de terrain mêlant observations de répétitions et entretiensFrom Aesop, the Roman actor, to Heath Ledger, the Hollywood star, numerous sources report instances of actors “possessed” by the evil part they are playing. Groundless myth, wild speculation on the part of spectators in search of thrills, or even marketing strategy? Perhaps, but that is not what matters most: whether real or fantasized, the number and the consistency of these stories throughout history bear evidence of their importance. Our imagination as a spectator seems to feed on these fantasized slips, on these stories of actors who, as the saying goes, lost themselves in acting and sometimes even died from it. After paying brief attention to some of these stories and to what they reveal about our relationship to the stage, a reversal of perspective is proposed : the risk of confusion between the actor and the character he is playing is no longer investigated through the lens of one’s perception of the actor but through paying close attention to the personal experiences of the actors themselves – we try to evade fantasies by attempting to understand what is really occurring in the actors’ mind when playing an evil character- To this end, we analyze the actor’s work in its most concrete and seemingly most innocuous aspects, from making up to the beating heart, from knee pain to flashes of pleasure, from the rituals before going on stage to laughter and tears shed once the performance is over, from tension to complicity with the partnering actors. We slip into the everyday life of the Théâtre du Soleil company by means of a wide field study which combines observation of rehearsals and actors’ statements of their own experience
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Thépot-Foissy, Eliane. "Les formes de la théâtralité dans les trois cycles filmiques d'Eric Rohmer : "Six Contes moraux", "Comédies et Proverbes", "Contes des quatre saisons"". Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030078.
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Des « Six Contes moraux » aux « Comédies et Proverbes », des « Comédies et Proverbes » aux « Contes des quatre saisons » se déploie une œuvre organisée par cycles dont le centre, toujours réactivé de film en film, est constitué par la question du désir, de ses excès et de ses manques. Comment ce cinéma, marqué par une esthétique classique privilégiant le naturel, peut-il donner passage à une théâtralité ? Théâtralité précisément dont l'apparition et les modalités détermineront notre étude de l'oeuvre rohmérienne, dont la cohérence formelle s'appuie sur les principes d'un cinéma vérité initié au mitan des années 1900 par les auteurs de la Nouvelle Vague, et que nous interrogerons principalement de manière à dégager les conditions, les formes et les effets d'une esthétique privilégiant, de film en film, une dramaturgie de la parole et du regard. Nous étudierons dans cette perspective les mises en scène de la parole et du corps dans leur rapport avec les lieux, envisageant la manière dont ce cinéma construit ses personnages au travers d'un théâtre de l'être en rapport étroit avec des procédés de valorisation par l'image. Recourant à des cadrages privilégiant la saisie du corps et de ses émotions, articulant par ailleurs les intrigues en étapes marquées par une forte dramaticité, ce cinéma fait, enfin, intervenir une esthétique de la fascination qui n'est, en dernier ressort que le reflet, sans cesse thématisé dans le film, d'une identification par le cinéaste du cinéma comme une quête toujours relancée de la beauté du monde. L'usage dramaturgique du ressort du hasard, principe équivalent, sur le plan de l'intrigue, au deus ex machina, permettra, le cas échéant, de transformer la quête déceptive du personnage en la joie de la découverte que l'Autre était celui, ou celle, que l'on attendait. Et si, dans un tel cadre narratif, le risque existe d'une forme excessive de sentimentalité, c'est, précisément, par le caractère dynamique que la théâtralité lui confère, que l'oeuvre y échappe, jouant de tous les ressorts de la surprise, de la variation des registres et des tonalités, introduisant enfin une certaine ironie dans le décalage entre le montré – l'image – et le dit – le discoursFrom "Six Moral Tales" to "Comedies and Proverbs", from "Comedies and Proverbs" to "Tales of the Four Seasons" Eric Rohmer develops a work that is organized in cycles whose center, always reactivated from film to film, is constituted by the question of desire, its excesses and its shortcomings. How can this cinema, marked by an aesthetic favoring the natural, embrace theatricality ? Theatricality precisely whose appearance and modalities will determine our study of the Rohmerian work, whose formal coherence is based on the principles of a cinema vérité initiated in the mid-1900s by the authors of the New Wave, that we will mainly examine, so as to identify the conditions, forms and the effects of an aesthetic favoring, from film to film, a dramaturgy of speech and gaze. From this perspective, we will study the staging of speech and the body in their relationship with places, considering the way in which this cinema constructs its characters through a theater of being and enhances them through the image. By framing that favors the capture of the body and its emotions, articulating plot in stages marked by a strong dramaticity, this cinema finally applies an aesthetics of fascination which is, ultimately, only the reflection, constantly thematized in the film, of an identification by the filmmaker of cinema as an ever renewed quest for the beauty of the world. The dramaturgical use the mechanism of chance, an equivalent principle, on the level of plot, of the deus ex machina, will make it possible, if necessary, to transform the character's deceptive quest into the joy of discovering that the Other was the man or woman we expected. And if, in such a narrative framework, there is a risk of excessive sentimentality, the works escapes it by the dynamis conferred by theatricality, playing with all the mechanisms of surprise, with the variation of registers and tones, finally introducing a certain irony into the discrepancy between what is shown – the image – and what is said – the discourse
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El, Riachy Marc. "La mise en jeu du personnage-figure dans la représentation contemporaine". Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030034.
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L’absence d’identité fictive repérable chez le personnage, dans une partie du théâtre contemporain, révèle l’être théâtral comme une figure indéterminée. Notre étude s’intéresse aux influences de cette mutation sur le jeu de l’acteur. Comment ce dernier procède au jeu en l’absence de caractérisation et de psychologie chez le personnage-figure ? Comment produit-il une image à un personnage qui ne possède plus une forme lisible et « visible » dans une didascalie ? Comment fait-il image d’une créature discontinue, intemporelle et invisible ? Comment compose-t-il des présences variées de lui-même sans exposer son individualité propre ? À partir des trois concepts philosophiques de « l’être-chair », « la manière d’être » et « La Présence Totale », nous analysons le jeu de l’acteur dans certains spectacles représentés en France entre 2005 et 2007, afin d’expliciter les différentes esthétiques de la mise en jeu du personnage-figure, et de montrer ainsi ce qui arrive quand la parole se donne à l’acteur et non plus au personnage. Dans le théâtre du personnage-figure, l’acteur ne joue pas un personnage mais joue avec le personnage. Ce dernier n'est plus un objet que nous puissions voir, mais c'est un acte que nous saisissons dans la présence totale de l’être-chair en ses différentes manières scéniques d’êtreThe fact that, in some contemporary theatre, characters have no distinctive fictional identity indicates that the dramatic being is an indeterminate figure. This study is concerned with the effects of this development on actors’ performances. How can the actor begin to perform in the absence of any characterisation or psychology in the character-figure? How does he produce an image of a character that no longer possesses any readable or “visible” form in a stage directions? How does he embody a creature that is at once discontinuous, a-temporal and invisible? How does he produce a set of variations on his own presence without revealing his own individuality? Drawing on three philosophical concepts, “being-flesh”, “mode of being” and “total presence”, this study analyses actors’ performances in a number of productions put on in France between 2005 and 2007, in order to draw out the different aesthetics involved in playing a character-figure, and thus to show what happens when the word no longer belongs to the character but to the actor. In the theatre of the character-figure, rather than playing a character, the actor plays with the character. The character is no longer an object we observe, but an act we grasp in the total presence of its being-flesh in its various theatrical modes of being
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Balso, André. "Robert RYAN ou la fureur souterraine : jeu d'acteur d'une "non-star" hollywoodienne". Thesis, Normandie, 2018. http://www.theses.fr/2018NORMC008/document.
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Robert Ryan (1909-1973) était de ces acteurs qui ne furent jamais starifiés. Pour autant, il ne resta pas non plus entièrement dans l’ombre de ses contemporains les plus reconnus. Rendu célèbre au cours de l’année 1947 par Crossfire (Feux croisés, Edward Dmytryk), il fut, depuis cette zone grise de la « non-starification », ce personnage de film noir à la fois névrosé et violent, tout aussi affirmatif que désorienté – mais pas uniquement. Aujourd’hui oublié comme la plupart des acteurs de cette catégorie, il apparut pourtant dans soixante-treize longs-métrages, parfois réalisés par des cinéastes de renoms tels que Jean Renoir, Nicholas Ray, Anthony Mann, Max Ophuls ou encore Fritz Lang, et sa carrière se prolongea au théâtre et à la télévision. En partant de quelques incarnations pour remonter vers ce qui faisait la singularité du jeu de Robert Ryan, puis en tentant d’inscrire l’acteur dans l’histoire esthétique du cinéma de son temps, le présent texte se penche sur l’un de ces Hollywood standby méconnus, qui firent pourtant office de matériaux essentiels aux films américains classiquesRobert Ryan (1909-1973) was one of those actors who never became a movie star. However, he was not completely in the shadow of his famous contemporaries. Celebrated for his part in Edward Dmytryk’s Crossfire (1947), he was this "non-star" actor playing neurotic, violent, affirmative and disorientated film noir characters, but he was not only that. If he has been forgotten today, like most actors of his kind, he nevertheless made seventy-three movies, sometimes directed by filmmakers such as Jean Renoir, Nicholas Ray, Anthony Mann, Max Ophuls or Fritz Lang, and he also had a career in theatre and television. Through the description of some of his roles, by analyzing the peculiarity of his acting style, and trying to place him within the aesthetic history of American cinema, the following text deals with one of those underrated "Hollywood standby", that were vital to the craft of American cinema
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Clateman, Andrew. "Inheriting the motley mantle an actor approaches playing the role of Feste, Shakespeare's update of the lord of misrule". Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4871.
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Playing role of Feste in William Shakespeare's Twelfth Night presents a complex challenge to the actor. Feste is at once a character in the world of the play and a clown figure with specific dramatic functions having roots in the Lord of Misrule of the English holiday and the Vice of the morality play. How can the actor playing Feste create a believable psychological portrayal that is aligned with the functions Shakespeare assigns the role? And be entertaining as well? I suggest that actor will benefit greatly from an exploration the traditional function of the clown its development in society and literature before Shakespeare, and how Shakespeare's use of the clown developed, culminating in the writing of Twelfth Night. The actor will thereby have a better understanding of what Shakespeare might by trying to achieve with Feste,, and he (or she) may better find the motivations for Feste's sometimes-enigmatic words and actions, which will, in turn, give shape and purpose to the clowning. I put this thesis to the test in preparing for and playing the role of Feste in Theater Ten Ten's production of Twelfth Night in the spring of 2010 in New York City. My research and preparation will include: a substantial immersion in much of Shakespeare's cannon, and viewing of performances of it (mainly on video); research on the role of the clown, how it developed through history until Shakespeare's time, and how Shakespeare appropriated and developed that tradition, culminating in Feste; a performance history of the role; a structural analysis of Feste's role in Twelfth Night; a character study of Feste; a rehearsal and performance journal documenting my ongoing exploration, challenges and choices. The main challenge, as I foresee it, is to arrive at my own unique performance of Feste while fulfilling both my director's vision and Shakespeare's intention.ID: 029809094; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 168-169).
M.F.A.
Masters
Theatre
Arts and Humanities
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Boneva, Ralitza. "Réel et représentation à l'épreuve de la fiction dans l'oeuvre de Michael Haneke". Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30072/document.
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Notre étude se propose de montrer qu'au cours des deux dernières décennies, des années 1989-2009, avec les films de Michael Haneke réalisés pour le cinéma, des innovations décisives apparaissent dans la fiction de nos jours. Des formes nouvelles bouleversent le récit, révélant ce qui, dans la fiction conventionnelle, est devenu stéréotype et mettent en cause la représentation. Des nouveaux rapports entre réel et représentation, entre visible, invisible et insupportable à voir, entre instance énonciative et spectateur entrent en jeu. De nouveaux possibles s'ouvrent sur la voie du développement de la fiction cinématographique et élargissent ses possibilités d'investigation du réel sur l'écranOur study suggests that during the last two decades, 1989-2009, with Michael Haneke's movies realized for the cinema, decisive innovations appear in the contemporary fiction. New forms upset the narrative, dispute the representation, and reveal what in the conventional fiction became stereotype. New reports between reality and representation, between visible, invisible and unbearable to see, between the instance of the statement and the spectator come into play. New possibilities open on the way to the development of the film fiction. They widen the possibilities for investigation of the reality on the screen
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Hýl, Petr. "Slovinské národní divadlo v Lublani". Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2009. http://www.nusl.cz/ntk/nusl-215582.
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Kuo, Chi-ting y 郭旂玎. "The Research on the character of actor-teacher of Theatre-in-Education (TIE)－Taking the products of Tainan Jen Theatre as Examples". Thesis, 2007. http://ndltd.ncl.edu.tw/handle/46482391114677735195.
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碩士國立臺南大學
戲劇創作與應用學系碩士班
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The study examines the training experience of three actor-teachers by means of three qualitative case studies. In order to enhance understanding of the actor- teacher training system, the personal factors, the role development of the actor-teachers, their relationship with directors and operation mechanism are explored. By virtue of a comprehensive comparative analysis, the study intends to shed lights on the domestic actor-teacher training and the research on Theater-in-Education (TIE). The study shows that those who concentrate, listen and reflect more attentively are fitter to be actor-teachers; those who possess teaching experience and professional theater experience handle the rehearsal process more smoothly with their past experience, professional knowledge and technique. With regard to the role development of the actor-teachers, the difficulties that they encounter are related to either attitude or technique. The basic concept of the actor-teachers helps to maintain their belief in the process, while their technique needs to be polished through incessant practice and attempt. Finally, the good relationships between the teaching-actors and directors are catalytic to the rehearsal process. There are established patterns of role development for the actor-teachers to follow. The directors help them mature by improving their personal limitation in imagination or initiativeness.
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Carvalho, Marta Alexandra Fernandes. "O que lê uma atriz quando lê o "L'acteur" de Jean Duvignaud". Master's thesis, 2014. http://hdl.handle.net/1822/33792.
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Dissertação de mestrado em Comunicação, Arte e CulturaNa contracapa da edição de 1993 do livro L’acteur (da editora Écriture), o autor, Jean Duvignaud, escreve: “Quem é o ator, que doa de realidade carnal uma ficção poética e a torna talvez mais verdadeira que a vida?” (tradução nossa). A obra L’acteur parte, então, desta pergunta para a pesquisa sobre o ator, através de duas direções complementares – o estudo das transformações do ofício do ator de acordo com os quadros sociais, e a investigação das relações entre o ator e a personagem. A presente dissertação constitui uma recensão ampla do livro citado, incluindo uma análise sobre o autor e a sua obra. Em paralelo refletimos, a partir da nossa experiência enquanto atriz, sobre os fundamentos e os desafios que Duvignaud deixa no livro L'acteur, buscando mostrar a pertinência da obra para o conhecimento das relações entre teatro e sociedade.
On the back cover of the 1993 edition of the book L'acteur (by the publisher Écriture), the author, Jean Duvignaud, writes: "Who is the actor, who imbues carnal reality into a poetic fiction and makes it perhaps truer than life?" (our translation). L'acteur jumps from this question to a research on the actor, through two complementary directions - the study of the transformations of the actor's craft in accordance with social frameworks, and an investigation of the relationships between the actor and the character. This dissertation is a broad review of the cited book, including an analysis of the author and his work. Concurrently we reflect, through our experience as an actress, on the fundamentals and challenges Duvignaud conveys in L'acteur, seeking to show the relevance of the work to the understanding of the relationship between theater and society.
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Carvalho, Almir de. "A potência do yoga no sistema de Stanislávski na preparação do ator e na construção da personagem". Master's thesis, 2019. http://hdl.handle.net/10362/77046.
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Neste trabalho pretendo mostrar a influência do yoga na vida artística de Stanislávski. Farei um paralelo entre a maneira de pensar de Stanislávski e o pensamento envolvido no yoga com relação à vida, ao ator, à ética no trabalho e ao desenvolvimento físico, mental e espiritual do ser humano. Discutirei os conceitos de energia (prana) com origem no yoga e utilizados por Stanislávski na preparação do ator e na construção da personagem. Este conceito de prana e o uso deste através da respiração correta devem ter sido um dos principais componentes que Stanislávski usou para atingir seu principal objetivo, que foi revelar um espírito humano e mostrá-lo de forma artística e bela. Levantarei a questão sobre a possibilidade de ser realmente útil o uso das técnicas do yoga na preparação do ator e na construção da personagem, considerando que o yoga proporciona um trabalho físico, mental e espiritual. Citarei referências importantes de alguns estudiosos do assunto que tiveram de forma direta ou indireta contato com o Teatro de Arte de Moscou, revelando aspectos muito pouco conhecidos sobre a influência do yoga no treinamento de Stanislávski e dos seus atores.In this work I intend to show the influence of yoga on the artistic life of Stanislavsky. I will parallel Stanislavsky's way of thinking with the thinking involved in yoga with regard to life, the actor, the work ethic, and the physical, mental, and spiritual development of the human being. I will discuss the energy (prana) concepts of yoga origin used by Stanislavsky in the preparation of the actor and in the construction of the character. This concept of prana and its use through correct breathing must have been one of the main components that Stanislavsky used to achieve his main goal which was to reveal a human spirit and to show it in artistic and beautiful form. I will raise the question of whether it is actually useful to use yoga techniques in the preparation of the actor and in the construction of the character, considering that yoga provides physical, mental and spiritual work. I will cite important references from some scholars who have had direct or indirect contact with the Moscow Art Theater, revealing little known aspects on how yoga was used by Stanislavsky on his own training and that of his actors.
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CARVALHO, ALMIR DE. "A potência do yoga no sistema de Stanislávski na preparação do ator e na construção da personagem". Master's thesis, 2019. http://hdl.handle.net/10362/76955.
Texto completoResumen
Neste trabalho pretendo mostrar a influência do yoga na vida artística de Stanislávski. Farei um paralelo entre a maneira de pensar de Stanislávski e o pensamento envolvido no yoga com relação à vida, ao ator, à ética no trabalho e ao desenvolvimento físico, mental e espiritual do ser humano. Discutirei os conceitos de energia (prana) com origem no yoga e utilizados por Stanislávski na preparação do ator e na construção da personagem. Este conceito de prana e o uso deste através da respiração correta devem ter sido um dos principais componentes que Stanislávski usou para atingir seu principal objetivo, que foi revelar um espírito humano e mostrá-lo de forma artística e bela. Levantarei a questão sobre a possibilidade de ser realmente útil o uso das técnicas do yoga na preparação do ator e na construção da personagem, considerando que o yoga proporciona um trabalho físico, mental e espiritual. Citarei referências importantes de alguns estudiosos do assunto que tiveram de forma direta ou indireta contato com o Teatro de Arte de Moscou, revelando aspectos muito pouco conhecidos sobre a influência do yoga no treinamento de Stanislávski e dos seus atores.In this work I intend to show the influence of yoga on the artistic life of Stanislavsky. I will parallel Stanislavsky's way of thinking with the thinking involved in yoga with regard to life, the actor, the work ethic, and the physical, mental, and spiritual development of the human being. I will discuss the energy (prana) concepts of yoga origin used by Stanislavsky in the preparation of the actor and in the construction of the character. This concept of prana and its use through correct breathing must have been one of the main components that Stanislavsky used to achieve his main goal which was to reveal a human spirit and to show it in artistic and beautiful form. I will raise the question of whether it is actually useful to use yoga techniques in the preparation of the actor and in the construction of the character, considering that yoga provides physical, mental and spiritual work. I will cite important references from some scholars who have had direct or indirect contact with the Moscow Art Theater, revealing little known aspects on how yoga was used by Stanislavsky on his own training and that of his actors.
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Černá, Johana. "Režijní tvorba Miroslava Macháčka v Národním divadle v 70. a 80. letech". Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-338222.
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The master thesis attempts to characterise the staging poetics of Miroslav Macháček, one of the most remarkable Czech theatre directors of the second half of the 20th century. Based on his stage works in the 70's and 80's at the National Theater, the author of this thesis attempts to make a reconstruction of all his productions of that period; and thus the detailed analysis of the more significant productions characteristic to the director's style is provided. In order to define the stagings, the author bases her research upon archival theater reviews and studies in particular periodicals, photographical materials from the productions and in some cases also audiovisual recordings. Furthermore, other sources include the director's correspondence, notes about his work and the memories of his contemporary witnesses. The thesis also focuses on the historical context and the conditions at the National Theater of that particular time, which influenced Macháček's activity there.