Artículos de revistas: "Actor-Character"

1

Tennent, Hamish, Dylan Moore y Wendy Ju. "Character Actor". Proceedings of the ACM on Interactive, Mobile, Wearable and Ubiquitous Technologies 1, n.º 4 (8 de enero de 2018): 1–23. http://dx.doi.org/10.1145/3161407.

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2

IORGA, Anca. "The actor and his character". Theatrical Colloquia 13, n.º 1 (15 de mayo de 2023): 71–82. http://dx.doi.org/10.35218/tco.2023.13.1.09.

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"The analysis presented in this paper has as a starting point the empathy of the performer with the character, which is based on the combination of imagination and emotional experience. The hypothesis starts from the fact that we must have an above average level of imagination and empathic level, in order to be able to improve through learning the elaboration capacity of the student actor. In this context, the objectives of the study are applied and aim to improve the learning process. The research method started from the analysis and study of a Chekhov workshop, in which students performed scenes from the best-known plays by this author. The choice of this workshop was due to the fact that Chekhov is a master of psychological introspection, his characters being very well defined. The evaluation aimed at the level of the stage transposition capacity of the students in the characters. The results took into account, on the one hand, the level of recognition of the situations and, on the other hand, the empathy and the ability of the students to render towards the imagined character. At the same time, the aim was to determine the gap that appeared between the students' mental project and their stage realization."

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3

Rajewsky, Irina. "Schauspieler, Figur, Rolle". Zeitschrift für französische Sprache und Literatur 131, n.º 1-2 (2021): 85–110. http://dx.doi.org/10.25162/zfsl-2021-0004.

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4

BAYRAK, TAMER. "CHARACTER IN CINEMA: SADRİ ALIŞIK AS A CHARACTER ACTOR". Turkish Online Journal of Design, Art and Communication 4, n.º 2 (1 de abril de 2014): 105–22. http://dx.doi.org/10.7456/10402100/008.

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5

Damen, Mark. "Actor and Character in Greek Tragedy". Theatre Journal 41, n.º 3 (octubre de 1989): 316. http://dx.doi.org/10.2307/3208183.

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6

Harding, Frances. "Actor and Character in African Masquerade Performance". Theatre Research International 21, n.º 1 (1996): 59–71. http://dx.doi.org/10.1017/s0307883300012712.

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7

Gao, Guangyu, Mengdi Xu, Jialie Shen, Huadong Ma y Shuicheng Yan. "Cast2Face: Assigning Character Names Onto Faces in Movie With Actor-Character Correspondence". IEEE Transactions on Circuits and Systems for Video Technology 26, n.º 12 (diciembre de 2016): 2299–312. http://dx.doi.org/10.1109/tcsvt.2015.2504738.

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8

Baruah, ManashP, Sanjay Kalra y Salam Ranabir. "Metformin; A character actor in the leptin story!" Indian Journal of Endocrinology and Metabolism 16, n.º 9 (2012): 532. http://dx.doi.org/10.4103/2230-8210.105569.

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9

Tal-Or, Nurit, Shani Sela, Israel Igumnov, Hanoch Dov Milwidsky, Benjamin Rafaeli y Michael Sanilevich. "Does What We Know About Actors’ Real Lives". Journal of Media Psychology 33, n.º 3 (julio de 2021): 155–64. http://dx.doi.org/10.1027/1864-1105/a000293.

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Abstract. The current study examines the effect of the valence of information provided about an actor on viewers’ identification with the character played by that actor and enjoyment of watching the film. The results from an experiment we conducted demonstrate that the valence of information about an actor influences identification with the character through the mediation of perceptions about the character’s traits and through transportation into the narrative. Information about the actor also indirectly affects the enjoyment of watching the film. We discuss these effects using the concepts of mental models, priming, and the fundamental attribution error as well as transportation theory.

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10

Edgerton, Gary R. y Michael T. Marsden. "Character Actor as Shapeshifter: An Interview with Doug Jones". Journal of Popular Film and Television 47, n.º 4 (2 de octubre de 2019): 186–97. http://dx.doi.org/10.1080/01956051.2019.1654789.

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11

Lubis, Donal Fernado y Diana Anggraeni. "ALLOPHONIC VARIATIONS AS STYLE MARKER OF A VOICE ACTOR". Jurnal Penelitian Humaniora 23, n.º 2 (29 de agosto de 2022): 75–83. http://dx.doi.org/10.23917/humaniora.v23i2.18443.

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This study deals with the allophones of several phonemes pronounced by a voice actor in performing a character in animation movie. It concerns with the stylistic analysis in phonetic and phonology levels that reinforce the voice actor in performance. The data are taken from the utterances spoken by Adam Sandler, the voice actor of Count Dracula in Hotel Transylvania-2. The method of data analysis is through descriptive qualitative based on stylistic and phonetic approaches. By comparing the general American accent with the voice actor’s pronunciation, it is found that the acoustic features of [5], [r], [?], [º], [n̪] and phonemes /@/ and /e/ have particular effects in reinforcing the character in the movie, mainly to bring up comical atmosphere.Keywords: stylistics, phonetics, phonemes, allophones, voice actor

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12

DIACONITA, Alexandra. ""Truth and Temporality - Points of Intersection Between Actor and Character"". Theatrical Colloquia 13, n.º 1 (15 de mayo de 2023): 143–46. http://dx.doi.org/10.35218/tco.2023.13.1.15.

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"Starting from a saying of Steinhardt, "the meaning of truth this is: truth exists, but it has a time and a space in which it is really truth" 259 , the intention is to outline a perspective on how the concept of truth overlaps or, in any case, works with the idea of temporality on stage. Historical time reflects tensions, rhythms and meanings that offer insights into the pulse of society, but also directions of interpretation. Theatre reflects time and takes up, in one way or another, ways of both propagating and receiving stage discourse. The idea of truth on stage proposes to the actor a permanent questioning of the way he treats the acting instruments, because the actor repeats gestures, texts, states; and often, what yesterday could be considered truth, today seems suspicious. How does time construct and de-construct the feeling or concept of truth for the actor?"

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13

Lucanu, Tudor. "One Conscience or More: Is the Actor more than one at a Time?" Studia Universitatis Babeş-Bolyai Dramatica 65, n.º 2 (30 de octubre de 2020): 243–60. http://dx.doi.org/10.24193/subbdrama.2020.2.12.

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"This paper approaches an important theme in the study of actors work: the multiplication of the consciousness, from the perspective of the actor’s training correlated to psychology and neuroscience. We will refer to some of the best known works used in the training of the actor or which have as object of study the art of the actor, namely K. Stanislavsky - An Actor Prepares; Michael Chekhov - To the Actor: On the technique of acting, Lee Strasberg - Strasberg at the Actors Studio, Jerzy Grotowski - Towards a Poor Theatre, Bertolt Brecht - Brecht on Theatre, Denis Diderot - Paradox of the Actor. Conversations on The Natural Son on one hand, and Antonio Damasio’s studies on the self, on the other hand, noting that theories about the cognitive functions of the human brain provide a valuable perspective on the art of the actor, especially by how it applies to the conscious and subconscious of the actor on stage. What happens to the actor while performing? How does the actor process different stimuli to build a character, and then an entire artistic act? What are the roles of the mind and body in the creative process? These are just a few questions that I will try to find answers to, while examining the actor’s multiplication of consciousness. Keywords: consciousness, actor, character, emotions, images, brain."

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14

Faiz Bolkiah, Muhammad y Amalia Sabila. "The Process of Deepening the Character in Dokudrama “Film Perjuangan K.H. Muhyiddin”". Jomantara: Indonesian Journal of Art and Culture 1, Vol. 1 No. 1 (31 de enero de 2021): 65–86. http://dx.doi.org/10.23969/jijac.v1i1.3432.

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Dokudrama is a non-fiction film that presents a story based on a true story. Besides being an entertainment medium, a film can also be a learning medium since film provides a good story content and messages. Therefore, it needs an actor as a subject to convey the message of the story that the director wants to deliver. To play a character in a movie, an actor must be able to delve into whatever character is given. Unlike documentaries, dokudrama films use actors as the main subject. An actor in a docudrama should be able to play a subject who has ever been real. An actor in a dokudrama film should be able to play a good role without removing the hallmarks of the original subject. A deepening process in a role, making every actor have their own way in learning the character. The differences in studying and delving into these characters is the focus of this research by using qualitative research methods, by re-describing the results of the researcher's analysis with the main theory. To create this study, the researchers used the presentation theory from Stanislavsky. The acting theory of this presentation has been used since the world of casting art entered Indonesia. This research aim is to find out the character deepening conducted by actors in the dokudrama film “Perjuangan K.H. Muhyiddin” based on the Stanislavsky’s acting presentation theory. Keywords: Dokudrama, Qualitative, Casting, Stanislavsky, Biography

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15

Nordmann, Alfred y Hartmut Wickert. "The Impossible Representation of Wonder: Space Summons Memory". Theatre Research International 22, n.º 1 (1997): 38–48. http://dx.doi.org/10.1017/s0307883300015935.

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Actors typically create characters and thereby appropriate the time of the performance and the space of the stage. As a common denominator to the words spoken and actions performed, the character correlates dramatic time with real performance time. When Kant says of the human subject ‘the “I think” must be able to accompany all its representations‘, the actor might say of the character ‘it must be able to accompany all my presentations’. Similarly, the stage as a hostile, indeterminate, and empty space makes room for the character, it is appropriated as a necessary platform for the realization of the character or as the medium for the production of its history: in the name of the character the actor can step into this space as into a costume; it clothes, contours or profiles, and physically projects the character.

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16

안재범. "The Analysis of an Actor by the Manifestation of Character". Journal of korean theatre studies association 1, n.º 65 (febrero de 2018): 143–90. http://dx.doi.org/10.18396/ktsa.2018.1.65.005.

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17

Lev-Aladgem, Shulamith. "Actor, character, and the political in Nola Chilton's documentary theatre". Research in Drama Education: The Journal of Applied Theatre and Performance 23, n.º 4 (6 de julio de 2018): 548–62. http://dx.doi.org/10.1080/13569783.2018.1494559.

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18

LaMontagne-Schenck, Ben. "Naked villainy: Encounters with an archetype of disfigurement". Studies in Costume & Performance 6, n.º 1 (1 de junio de 2021): 87–104. http://dx.doi.org/10.1386/scp_00037_1.

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This research report is focused on an emergent methodology developed to support a transformational actor‐researcher engaged in heuristic inquiry. Rooted in Stanislavskian practices, transformational acting outlines a character building technique that is, at its core, a physical process. By including costume as an integral component of this physical character-building process, the actor is equipped with a material tool with which they may alter their means of perception. A combined reading of modern cognitive theory and feminist theory asserts that such perceptual alterations as costume affords may then result in a fundamental shift in the performer’s identity, facilitating a lived experience of the character’s identity. Considering costume within a Stanislavskian context introduces a material set of given circumstances; an embodied experience of another’s possibilities or impossibilities of movement. While these perceptual changes stimulate transformation, an actor‐researcher may also find themselves in active collaboration with a ‘character’ outside of themselves, potentially lending new-found insight within a research setting. Starting from a materialist approach to character, I chose to use Shakespeare’s character Richard III as a case study to test my hypothesis. What I soon began to realize was that this unidentified ‘materiality’ that I had been drawn to could not be distinguished from Richard’s ‘disability’. I began to ask, what are the ethical implications of an actor donning various external costume-based tools in embodying a disabled character? How does such an approach help us move away from the medical model of disability to the social, and perhaps even towards the affirmative and to resituate disability as a lived experience rather than metaphor? This research report details an emergent methodology confronted with the ethical implications of costume’s impact on the portrayal and understanding of disability in theatre today.

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19

Younes, Mohamed, Ewa Kijak, Richard Kulpa, Simon Malinowski y Franck Multon. "MAAIP". Proceedings of the ACM on Computer Graphics and Interactive Techniques 6, n.º 3 (16 de agosto de 2023): 1–20. http://dx.doi.org/10.1145/3606926.

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Simulating realistic interaction and motions for physics-based characters is of great interest for interactive applications, and automatic secondary character animation in the movie and video game industries. Recent works in reinforcement learning have proposed impressive results for single character simulation, especially the ones that use imitation learning based techniques. However, imitating multiple characters interactions and motions requires to also model their interactions. In this paper, we propose a novel Multi-Agent Generative Adversarial Imitation Learning based approach that generalizes the idea of motion imitation for one character to deal with both the interaction and the motions of the multiple physics-based characters. Two unstructured datasets are given as inputs: 1) a single-actor dataset containing motions of a single actor performing a set of motions linked to a specific application, and 2) an interaction dataset containing a few examples of interactions between multiple actors. Based on these datasets, our system trains control policies allowing each character to imitate the interactive skills associated with each actor, while preserving the intrinsic style. This approach has been tested on two different fighting styles, boxing and full-body martial art, to demonstrate the ability of the method to imitate different styles.

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20

Cojan, Daniela. "The Birth and Evolution of Stanislavsky’s Method". Theatrical Colloquia 7, n.º 1 (1 de junio de 2017): 299–305. http://dx.doi.org/10.1515/tco-2017-0012.

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Abstract The stanislavskian system arises in full development of the realist current. Starting from the word, the actor expresses through gestures, intonations and mimics. The pre-stanislavskian actor is dominated by dilentatism and emotional “accidents”, the balance is tilted to an act full of clichés and crafts. Perhaps the most important lesson that Stanislavsky gives us is that for the actor in his work to reach a credible character, he must go through all states, sensations and feelings required in building a character. We cannot forget, however, that Stanislavsky devised a new method of representation also due to the emergence of Chekhovian texts. To give effect to the new ways of writing, the attention must focus on the actors, without neglecting the scenography. Stanislavsky wants to convince the actor that if he doesn’t want to use tricks to present truth, he should be just like a painter or musician, to devote his whole being, “body and soul especially” in the creative process.

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21

Rajaravivarma, K. R. y Suresh Chandra Das. "THERUKUTHU AS A TRAINING METHOD FOR CONTEMPORARY THEATRE ACTOR". ShodhKosh: Journal of Visual and Performing Arts 3, n.º 2 (30 de julio de 2022): 115–22. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.147.

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The contemporary acting in theatre has resembling in many features of the Tamil traditional theatre form Therukuthu. So, this discussion intended to establish the possibilities of the Therukuthu as a method of actor training for contemporary theatre actors. The primary concern of the discussion includes the actor and acting of contemporary theatre; the way how actor presents the character and communicates with the audience as co-actors, which are the two significant features of contemporary theatre. So, the discussion considers at those factors of Therukuthu form and acting or performance those applicable to the contemporary theatre actor, to consider Therukuthu as a potential Contemporary actor training method.

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22

Amidei, Aly Renee. "Where'd I Put My Character? The Costume Character Body and Essential Costuming for the Ensemble Actor". Theatre Symposium 26, n.º 1 (2018): 49–57. http://dx.doi.org/10.1353/tsy.2018.0003.

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23

Pongkittiphan, Teeraphon, Daisuke Saito, Nobuaki Minematsu y Keikichi Hirose. "Eigenvoice-Based Character Conversion for Arbitrary Speakers Using Various Character Voices of a Skilled Voice Actor". Journal of Signal Processing 17, n.º 4 (2013): 139–42. http://dx.doi.org/10.2299/jsp.17.139.

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24

Tukachinsky, Riva. "Playing a Bad Character but Endorsing a Good Cause: Actor-character Fundamental Attribution Error and Persuasion". Communication Reports 33, n.º 1 (13 de noviembre de 2019): 1–13. http://dx.doi.org/10.1080/08934215.2019.1691618.

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Abani, Kevin, Wahid Nurcahyono y Rukman Rossadi. "PEMERANAN TOKOH ROBERT DALAM NASKAH A LIFE IN THE THEATRE KARYA DAVID MAMET". TONIL: Jurnal Kajian Sastra, Teater dan Sinema 19, n.º 2 (17 de diciembre de 2022): 113–24. http://dx.doi.org/10.24821/tnl.v19i2.8372.

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A Life In The Theater by David Mamet is a theater script that tells about the problems of a stage actor's life between teacher and student that describes friendship, growth, development, and the human condition in life as a stage actor. To realize the character of Robert in the script of A Life In The Theater by David Mamet, the author uses the acting theory of Stanislavski The System, which is a systematic approach to training actors. In the process of playing the role, the magic if method is used, namely the ability to imagine the character is in a series of fictional situations and imagine how and what the character will do in dealing with the situation. Keywords: Actor, A Life In The Theatre, David Mamet, The System, Magic If

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26

Hedeș, Bianca. "Happening, a Controversial Hybrid Way of Cultural Expression". Studia Universitatis Babeş-Bolyai Dramatica 67, n.º 2 (13 de diciembre de 2022): 123–40. http://dx.doi.org/10.24193/subbdrama.2022.2.08.

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"The aim of this article is to explore an experimental acting exercise that took place in 2015 during a survival workshop guided by the Romanian-Canadian stage director Alexander Hausvater. The name of the workshop was “The total actor – The survival” and took place in Colibița, a mountain resort in Bistrița-Năsăud county involving 25 young actors. The actors embodied different human typologies for almost 12 hours in the town of Bistrița. The exercise was conducted in different areas of the town and each actor was supposed to remain in the “skin” of the character no matter the circumstances. Even though they interacted with civilians from the urban environment, they had to continue to exhibit the traits and features assigned to the character as if they were on stage. Many of the citizens were taken in by the deceitful appearances and believed that the actors they interacted with were real people with real issues. The closeness between reality and pretence was so tight that some of the spectators insisted on helping the needy, underprivileged typologies some of them were interpreting. Consequently, the difficulty in going on with the acting part became even harder for the participants in the workshops because of this interference. The main purpose of this type of exercise was to point out the complexity an actor is capable of and the involvement s/he must show in front of a changing audience, with a nonconformist moving stage. Were the actors able to prove the director’s expectations according to his given definition of a true actor? Were the actors ready enough to exploit previously unpaved roads? Was this type of practice beneficial to achieve the ultimate goal? Is happening the best way of showing the mixture of abilities an actor has? Keywords: happening, hybrid, workshop, survival, Hausvater’s artistic experiment, street performance, complexity, challenge, remain in character."

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Lane, Kristi. "Using Actors as “Clients” for an Interviewing Simulation in an Undergraduate Clinical Psychology Course". Teaching of Psychology 15, n.º 3 (octubre de 1988): 162–64. http://dx.doi.org/10.1207/s15328023top1503_20.

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Undergraduate theatre majors are trained to be clients for the interviewing component of an undergraduate clinical psychology course. The actor creates the character of a client after reading appropriate case studies. The instructor assists by providing feedback, helping to create client history, background, and personality characteristics, and by monitoring the degree of pathology that the actor portrays. The actors add a realistic component to this course.

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28

Ambrose, Cohen. "A �Paradox of Expression�: Merleau-Ponty and the Intertwining Nature of Brecht�s �not...but� Procedure". Performance Philosophy 3, n.º 1 (25 de junio de 2017): 199. http://dx.doi.org/10.21476/pp.2017.31109.

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This article seeks to investigate the practical applications of a performance process that Bertolt Brecht called the procedure of �fixing the �not�but�,� which produces a Verfremdungseffekt. The article also interrogates the philosophy that such a process inherently performs. In one of his last writings, Maurice Merleau-Ponty argues that to look at oneself through the eyes of another necessarily blends the divide between one body and another and, by applying one�s senses to another�s, one engages in a �paradox of expression.� I explore the process of working with actors to produce distancing effects in their acting by chronicling the results of a 2012 practice-as-research project titled The Galileo Experiment. I use Merleau-Ponty�s �paradox of expression� as a way of considering Brecht�s call for the co-presence of the actor and their character in a stage performance. I borrow Nick Crossley�s approach to phenomenological intersubjectivity and consider other theoretical implications of performing the �not...but� procedure. I argue that in order for the actor to successfully perform Brecht�s �not...but� procedure, the actor must play into their character while occasionally playing out of the character in an alternative attitude, using what I call the �reflective block�.

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Oh, Youn-Hong. "A Study on ‘Character Creation’ of Personality Actor - Focusing on Actor Jung Woo-sung and the Characters He Played -". Journal of the Korea Entertainment Industry Association 14, n.º 8 (31 de diciembre de 2020): 141–52. http://dx.doi.org/10.21184/jkeia.2020.12.14.8.141.

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Arenella, Peter. "Character, Choice and Moral Agency: The Relevance of Character to Our Moral Culpability Judgments". Social Philosophy and Policy 7, n.º 2 (1990): 59–83. http://dx.doi.org/10.1017/s0265052500000765.

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Should a person who cannot appreciate the moral significance of legal norms qualify as a blameworthy actor simply because he has the capacity to comply with them for non-moral reasons? Such a person may lack any empathy for other human beings and view moral norms as arbitrary restraints on his self-interested behavior: does he nevertheless deserve moral blame when he makes an instrumentally “rational choice” to breach a norm governing his action? Should our answers to these questions depend on whether we believe that the actor is morally responsible for lacking these moral emotions and understandings? In short, must we concern ourselves with those aspects of the agent's character – his goals, desires, values, emotions, and perceptions of what courses of action are available to him – that motivate his rational choices? Or are questions about what motivates the actor to exercise his capacity for rational choice irrelevant to our judgments concerning his moral culpability for violating some governing norm?One way of thinking about such questions is to ask what attributes a person must possess to qualify as an appropriate addressee of moral norms and a suitable object of moral blame. Must a moral agent have the capacity to respond to moral norms as a reason for his choices? Must he also be able to control those aspects of his character that impair his capacity to make moral choices?Most legal theorists insist that moral agents do not need such capacities to be fairly blamed for violating the minimal moral restraints that the criminal law imposes on their self-interested acts.

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31

Stinton, Nicole. "Recitativing the Song: Empowering the Singing Actor". Musical Theatre Educators Alliance Journal 5, n.º 2024 (1 de enero de 2024): 25–36. http://dx.doi.org/10.62392/aepd5204.

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Conservatory training has relied largely on the separation of singing and acting classes (Burgess & Skilbeck, 2000, pp. 9-11). The separation of discipline-specific classes may be one reason why the singing-actor can lack authenticity in performance (Burgess & Skilbeck, 2000, pp. 111-112; Moor, 2018, p. 264). Authenticity, in this context, refers to the character being believable and where the actor appears to not be acting (Moor, 2018, p. 258)...

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32

Syarief, Fauzi, Susana Susana y Jaqualine Pramanta Putra. "Fenomena Film Dalam Keberagaman Seni Peran dan Budaya". Akrab Juara : Jurnal Ilmu-ilmu Sosial 8, n.º 2 (5 de mayo de 2023): 49. http://dx.doi.org/10.58487/akrabjuara.v8i2.2083.

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

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Haarhoff, Èmil. "The use of embodied imagination and empathy to bridge actor–character dissonance". South African Theatre Journal 31, n.º 1 (2 de enero de 2018): 115–32. http://dx.doi.org/10.1080/10137548.2017.1417741.

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Soule, Lesley Anne. "Subverting Rosalind: Cocky Ros in the Forest of Arden". New Theatre Quarterly 7, n.º 26 (mayo de 1991): 126–36. http://dx.doi.org/10.1017/s0266464x00005406.

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The foregoing article by Jan Kott explored the nature of gender in As You Like It largely by looking forward to later analogues of androgyny: but here Lesley Soule examines the character of Rosalind in close relationship to traditions of popular theatre and performance on which Shakespeare himself could draw. She points out how our own two-centuries-old love affair with an idealized heroine has, despite some recent feminist modifications of the character-myth, distorted our reading of the play, obscuring the fact that the text describes a performance in which the controlling presence is not a female performer but a male adolescent – a figure whose long theatrical antecedence she explores. This portrayal by a pert boy Roscius of Shakespeare's boy-girl character the author dubs ‘Cocky Ros’ – a figure who first represents and then subverts the feminine fiction of ‘Rosalind’, thus providing a paradigm of character-actor interplay. Only by giving authority to such subversive, gender-free performers, she argues, can we challenge the power wielded by theatrical illusion over our ideas of identity, gender, and love. Lesley Soule, who has taught at the University of British Columbia and at Polytechnic South West, is currently completing a study of theories of the character-actor relationship.

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35

Konijn, Elly. "Actors and Emotions: A Psychological Perspective". Theatre Research International 20, n.º 2 (1995): 132–40. http://dx.doi.org/10.1017/s0307883300008373.

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The acting of emotions on the stage can be looked at from three different points of view. Traditionally, the relationship of the emotions of the actor to the presupposed emotions of his character is discussed from a theatrical point of view. I shall provide a short overview of the different approaches to acting emotions based on current acting theories. Only recently have the emotions of the actor on stage portraying character-emotions been looked at scientifically from a psychological perspective. Finally, I shall present the empirical results of a questionnaire drawing on answers from a wide sample of professional actors. Due to limited space, this presentation can only be a global one. Emphasis is placed on the presentation of the empirical material about actors and emotions on stage.

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36

Moser, Lucio, Chinyu Chien, Mark Williams, Jose Serra, Darren Hendler y Doug Roble. "Semi-supervised video-driven facial animation transfer for production". ACM Transactions on Graphics 40, n.º 6 (diciembre de 2021): 1–18. http://dx.doi.org/10.1145/3478513.3480515.

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We propose a simple algorithm for automatic transfer of facial expressions, from videos to a 3D character, as well as between distinct 3D characters through their rendered animations. Our method begins by learning a common, semantically-consistent latent representation for the different input image domains using an unsupervised image-to-image translation model. It subsequently learns, in a supervised manner, a linear mapping from the character images' encoded representation to the animation coefficients. At inference time, given the source domain (i.e., actor footage), it regresses the corresponding animation coefficients for the target character. Expressions are automatically remapped between the source and target identities despite differences in physiognomy. We show how our technique can be used in the context of markerless motion capture with controlled lighting conditions, for one actor and for multiple actors. Additionally, we show how it can be used to automatically transfer facial animation between distinct characters without consistent mesh parameterization and without engineered geometric priors. We compare our method with standard approaches used in production and with recent state-of-the-art models on single camera face tracking.

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37

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, n.º 1 (8 de octubre de 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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38

Kim, Kyujin. "The Use of the Michael Chekhov Technique to Create a Role". Korean Society of Culture and Convergence 44, n.º 10 (31 de octubre de 2022): 841–50. http://dx.doi.org/10.33645/cnc.2022.10.44.10.841.

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This study aims to investigate Michael Chekhov Technique to find a concrete way to create a variety of roles beyond everyday self. The actor tends to copy themselves and reduce the diversity of acting during role creation. Thus, Michael Chekhov emphasizes intuitively imagining and embodying invisible elements, avoiding duplicating themselves. Then, he suggests approaching a character through higher self, which means the many ‘I’s and the expanded body-mind. Among the twenty Michael Chekhov techniques, this research intensively focuses on the principles and processes of Quality, Personal Atmosphere, Psychological Gesture, and Imaginary Center and Body, which can be directly applied to building a role. These techniques actively answer the following questions: ‘How will the character move?’, ‘What space will the role be surrounded?’, ‘What psychological movement will be inside the role?’, ‘What center and body will the character embody?’ Although the points are different, all the skills help the actor speak and move beyond their psycho-physical habits and, by awakening the actor’s higher self, express the inner essence and personality of the role sincerely and colorfully.

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39

Curuţiu-Zoicaş, Camelia Corina. "THE NEUTRALITY or the silence before the action". Theatrical Colloquia 11, n.º 2 (26 de noviembre de 2021): 60–71. http://dx.doi.org/10.2478/tco-2021-0020.

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Abstract The actor’s imagination is formed and translated into images. The actor shows and embodies the dramatic character on stage with his body, voice and gestures. The actor’s body goes through a semiotic transformation during the show, it becomes the main vehicle of expression, the main channel of transmiting information, an extremely important function in theatrical artistic creation. The actor’s voice is in accordance to his body and psyche, and through its expressive qualities it becomes an essential component of theatrical language and stage communication. Our every day body is also a permanent transmitter of coded messages, voluntary or involuntary, of packets of information about the subject’s previous experiences, memories, sensations, perceptions, knowledge, attitudes, conceptions, relationships, social constraints etc. The human voice also becomes a sign for the social relationships, for the personal identity, the mood or the motivation of the speaker. Due to the state of neutrality, the actor will discover how an image, real or fictional, can transform his psychophysics, he will discover the psychophysical existence of each character with its external and internal world. The actor must put aside his self-image, learn to allow the presence of the mask / role take control of him, to breathe, to speak and to live with his own voice, face, body and mind. When the face is covered and there is silence, the actor has to communicate through his body and movements, when the movement is simple and economical, the mask /the role begins to live.

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40

Zhaksygali, A. N. "MODERN KAZAKH THEATER ON THE WAY TO CREATING THE IMAGE OF A WORLD-FAMOUS HERO (ON THE EXAMPLE OF CHAPLIN'S PLAY)". ARTS ACADEMY 8, n.º 4 (diciembre de 2023): 45–58. http://dx.doi.org/10.56032/2523-4684.2023.4.8.45.

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The article analyzes the first performances on the Kazakh stage of the world-famous image of Charlie Chaplin, the course of the production, features, ways of creating the image. The events that influenced the transformation of a personality into a "cult figure", an actor who began in his life, an autobiography left by the author, interviews with colleagues, wives and scientific articles about the actor were analyzed. During the production, problems, difficulties, familiarity of the theater troupe with a previously unknown work process, the specifics of the style of work from other invited directors were touched upon. From the research conducted about the actor, we know that the innovations introduced by the actor into the film industry have not yet lost their relevance, the image of the "Little Tramp" proposed by the author has caused the appearance of still popular funny images. Through the events that influenced and influenced the actor's work, the birth of the image of the main character of the actor "the little tramp" and the first image of Charlie Chaplin on the Kazakh stage are analyzed.

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41

Aftanasiu, Doru. "The Dilemma of the Composition Role". Theatrical Colloquia 9, n.º 2 (1 de diciembre de 2019): 167–74. http://dx.doi.org/10.2478/tco-2019-0023.

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Abstract What could we possibly mean by the expression “composition role”? To this question we will try to find an answer as comprehensive as possible. Are we talking only about those “character roles” mentioned by Stanislavsky? This reference can be considered, since all those character roles require stage composition, the way Stanislavsky described his own acting experiences. But is this the only landmark? Should we label as composition roles only the characters that demand text-triggered stage composition? Indeed, there are characters that assume, within their construction, elements that do not belong to the actor as an individual. But are these the only cases when the term applies? The composition role is therefore not limited to only a few obvious milestones identified in the text. On a closer look, some characters may require a stage composition based on external elements, even if this problem is not apparent. Yet we must not misunderstand things and come to the conclusion that all roles, following a deep psychological analysis, become composition roles. If we agree that the construction of a character involves many elements pertaining to externalization, we must consider the cases where such suggestions originate from the director. Some directors claim scenic effects from the actors, sometimes contradicting the natural line of the character created by the author, maybe even completely modifying its construction. How reprehensible, however, is the acting effect? Has it only arisen from a desire to simulate virtuosity? The term “effect” in composition can be accepted in the sense of the element helping to achieve the contrasts indispensable to the stage creation, about which Michael Chekhov speaks in To the Actor. He confers to it a broader acceptance. Solutions not related to elementary normality can give the actor an unbearable sense of awkwardness, inevitably leading to effort. This effort will not go unnoticed by the spectator. And the spectator, almost always without hesitation, gives a negative verdict to such a performance. And yet, visible manifestations that seem to be chaotic can be lived from the inside, which averts effort in interpretation and artificiality. The actor can avoid some clumsiness in emotions, clumsiness that is spoken about by Dario Fo, among others.

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42

Bolon, Matthias. "Identity Awareness in Casting". Journal of Consent-Based Performance 2, n.º 2 (30 de diciembre de 2023): 30–50. http://dx.doi.org/10.46787/jcbp.v2i2.3868.

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Autonomy in choosing is a powerful source of human contentment, and performer consent is essential in producing the best experience for the actor and the audience (McCloskey, 1990). This Note from the Field reflects upon practical consent-based tools for performance and communication that supported me, as a transgender (“trans”) masculine student actor, in confidently playing a classic feminine role for my university’s production of The Importance of Being Earnest by Oscar Wilde. I offer my experience in order to provide practical recommendations regarding: building a support system; optimizing communication; implementing apologies; using self-care cues; separating the actor and character (entrance and spring-boarding gestures, closure routines); creating individual and group closure practices; undertaking structured pre- and post-rehearsal check-ins; and giving compliments. Consistent application of such consent-based performance practices substantially improved my theatrical experience as a trans actor, and I anticipate that similar practices will benefit the journeys of other trans actors, their cisgender peers, members of production teams, and faculty.

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43

Nair, Janaki Sasidharan. "Intertwined body and mind: Embodying character and reflections on the performative experience in Kathakali". Indian Theatre Journal 7, n.º 1 (1 de junio de 2023): 47–63. http://dx.doi.org/10.1386/itj_00029_7.

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The goal of this study is to present an interrogation on the notion of ‘becoming’ a character in Kathakali and to develop some critical questions about the creative transformation widely discussed in the performance studies scholarship, whether it is a complete psychophysical process during a performance. As such, this study is primarily committed to the task of analysing and describing the experience of a Kathakali performer while they embody a character, and attempts to underscore that the performative transformation occurs as an oscillatory movement between the trained body and the mind. With this disposition, this study tries to make sense of everyday performativity of Kathakali performers shaped by their training, social and cultural background and how their somatic and psychological state during the performance helps them experience a performative transformation. This will be closely examined under three sections: (1) the physical training and the ways in which the actor’s body is prepared for the performance, (2) the nature of the internal preparation of the actor and (3) an account of how this internal and external preparation helps the actor embody character and what the actor experiences during a performance. In an attempt to investigate this performative experience, I employ frameworks provided by Philip Zarilli, Richard Schechner and Eugenio Barba and their observations about the body and the mind in performance to offer additional perspectives on the performative transformation in Kathakali. This article is informed by both scholarly sources and the author’s own practice of Kathakali as a performer.

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44

Son, Youngmo y Hyowon Shim. "A Mirror Image of The Screen Actor - Analyzing Multilayered Character of Rudolph Valentino". CONTENTS PLUS 15, n.º 2 (28 de febrero de 2017): 5–21. http://dx.doi.org/10.14728/kcp.2017.15.02.005.

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45

Levchenko, Olena y Olha Pasichnyk. "Using of Human Behavior Manners in the Process of a Film Actor Preparing for a Role". Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, n.º 1 (30 de junio de 2021): 35–42. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235071.

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The purpose of the research is to reveal the features of the use of a human behaviour manner in the process of preparing a cinema actor preparing for a role. The research methodology is based on the principles of descriptive, comparative, cultural and artistic methods, the method of observation and experiment, in addition, individualizing and social and psychological approaches are applied during the study of the psycho-physiology of acting through the analysis of the behaviour in the process of individual human capabilities disclosing. The scientific novelty of the research is that the workmanship of the acting game is analyzed through the allocation of a visual demonstration of the manner of behaviour from the inner senses of the character for the first time. Conclusions. The research has shown and analyzed the use of human behaviour in the process of film actor preparing for his/her role. It has been found that the accumulated experience of body movements enriches the repertoire of acting, reduces the risk of the hero emotional state over the inner freedom of a professional actor. Accordingly, with the explored information, the main point here is that impersonation for a character is demonstrating by the simplest properties of human behaviour.

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46

McCaw, Dick. "Paradoxes of Acting: Bakhtin and Stanislavsky". New Theatre Quarterly 30, n.º 1 (febrero de 2014): 29–39. http://dx.doi.org/10.1017/s0266464x14000050.

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While much has been written about Bakhtin's later writings, most notably Rabelais and his World, little attention has been paid to his early manuscripts written in the mid-1920s. In this article Dick McCaw compares Bakhtin's early philosophical ideas about authorship and Stanislavsky's theory about how an actor creates a character. Bakhtin argues that actors can only be authors when they remain outside the character. He agrees that there is a need for empathy, but that this moment of co-experiencing with the character is followed by a return to oneself. Although this would seem to fly in the face of Stanislavsky's demand for the actor's empathetic identification with their role, McCaw concludes that both writers agreed that there was a necessary doubleness in the consciousness of the actor. This article develops ideas first considered in McCaw's PhD, ‘Bakhtin's Other Theatre’ (Royal Holloway, University of London, 2004) and now being reworked as a book on Bakhtin and the theatre of his time. Dick McCaw is a Senior Lecturer at Royal Holloway, and has written With an Eye for Movement (2006) and edited the Laban Sourcebook (2011).

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47

Ihidero, Victor Osae. "African Women Performing Men: Subverting Masculinity through Cross-Acting in Selected ABU Studio Theatre Performances". International Journal of Current Research in the Humanities 26, n.º 1 (25 de febrero de 2023): 69–86. http://dx.doi.org/10.4314/ijcrh.v26i1.5.

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This paper examines the bodily politics of African women performing African men in the Nigerian acting scene. It appraises the complexities in conceptualizing masculinity and cross-acting vis-à-vis gender stereotyping. It argues against the backdrop that the female body is elastic and better positioned for cross-acting than the male body. It draws on the transitory conceptualizations of subversion to claim that the Nigerian female stage actor possesses a fluid ability to play eccentric male roles in ways that express the persona of the African male character. The paper argues that the fluidity of the Nigerian female stage actor is marked by three trimesters or trimetric factors; her innate ability to perform many roles as a woman, her ability to carry other bodies and to endure the pain of it; more so, attended by diverse bodily changes and lastly, her Freudian complex of desiring to become a man in challenging or turbulent situations. It avers that within the precinct of these triadic factors are elements which inhibit and/or propel the Nigerian female acting. The study used two experimental acting workshops from the Ahmadu Bello University Studio Theatre to affirm that the necessity of imaginative disruption in typecasting may be the mother of invention in acting. It concludes that while the African male actor needs an extreme form of physical, social and individual dislocation to effectively play the African woman, the African female actor only needs a supple routine in rehearsals to perform the male character and roles.

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48

Shevchenko, Dimitry. "The Many Selves of an Actor". Cracow Indological Studies 24, n.º 1 (18 de agosto de 2022): 111–30. http://dx.doi.org/10.12797/cis.24.2022.01.06.

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This article explores artistic innovations in Kūṭiyāṭṭam theater through the lens of critique developed in the Naṭāṅkuśa—a polemical treatise composed, perhaps, in the 15th century Kerala. The focus is on the Naṭāṅkuśa’s fierce disapproval of the performance of multiple roles by an actor dressed as one and the same character—for example, switching from the role of Hanumān to that of Rāma, while still in Hanumān’s costume and make-up. The author of the Naṭāṅkuśa utilizes epistemological arguments to demonstrate the impossibility of accommodating more than one character in a single actor’s mind. Nor can a spectator have a stable cognition of the second- order characters. The fact that the author attributes to the opponent— a Kūṭiyāṭṭam performer—a non-dualist theory of cognition, suggests that the theory of Kūṭiyāṭṭam was inspired by Advaita Vedāntin and the non-dualist Śaiva epistemological presuppositions.

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49

Carlson, Marvin. "The Haunted Stage: Recycling and Reception in the Theatre". Theatre Survey 35, n.º 1 (mayo de 1994): 5–18. http://dx.doi.org/10.1017/s0040557400002520.

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Some of the most thoughtful analysis of the theatre during this century was generated by a group of semiotically-oriented linguists and aestheticians in Prague, Czechoslovakia, in the 1930s and 1940s. These Prague theorists considered all aspects of the theatre experience—the dramatic texts, the various production elements, the audience—but they gave special attention to the complex matter of acting, developing a three-part model for the analysis of this phenomenon that may be taken as typical both of their strategies and of their theoretical concerns. They began with the actor, the living being appearing on the stage. This actor utilized expressive work, physical and vocal, to create the impression of an absent personage. The sum of this work resulted in the creation in the theatre of the stage figure. This figure was then interpreted by the audience, using whatever strategies seemed appropriate to them, to result in their mental image, the character. The character in short was the stage figure as received by the audience.

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50

Souris, Renée Nicole. "Child Soldiers, Agency, and Aristotelian Virtue Ethics". International Journal of Children’s Rights 31, n.º 3 (12 de septiembre de 2023): 698–728. http://dx.doi.org/10.1163/15718182-31030006.

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Abstract The international community first responded to child soldiering by embracing within law and policy a narrative that saw child soldiers largely as passive victims. Empirical work with child soldiers has since revealed a more complex picture of children’s agency and actual experiences. From this work, a more recent narrative – which I call the political actor narrative – has taken shape within scholarly work on child soldiers. While the former narrative may be wrong to universalise the condition of all child soldiers as passive victims, the latter narrative is limited in what it can tell us about how child soldiering affects moral character development. I argue that we have good reason to seek a more comprehensive narrative that mixes elements of the passive victim and political actor narratives into a new narrative that provides resources for character-based normative analysis, and I show how virtue ethics provides the conceptual resources to do this.

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