Artículos de revistas: "Actor training"

1

Hodge, Alison. "Actor Training". Studies in Theatre and Performance 20, n.º 3 (enero de 2000): 184–87. http://dx.doi.org/10.1080/14682761.2000.10807037.

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2

Rewa, Natalie. "Actor Training". Canadian Theatre Review 78 (marzo de 1994): 3. http://dx.doi.org/10.3138/ctr.78.fm.

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Though Canadian actors, designers, playwrights and technicians are articulate about the programs that they have experienced, the discussion of theatre training by those who offer it is sporadic. The most comprehensive account of the theory and practice of theatre education in Canada is the 164-page Report of the Committee of Inquiry into Theatre Training in Canada which was commissioned by the Canada Council and its Advisory Arts Panel and published in 1978. A major implication of the study was that theatre training had to be more closely allied with practice if it was to be more effective. What would a similar study of theatre training – supposing that any agency were interested in funding it – discover today?

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3

Barclay, Kari. "Willful Actors: Valuing Resistance in American Actor Training". Journal of Dramatic Theory and Criticism 34, n.º 1 (2019): 123–41. http://dx.doi.org/10.1353/dtc.2019.0027.

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4

Chow, Broderick D. V. "An actor manages: actor training and managerial ideology". Theatre, Dance and Performance Training 5, n.º 2 (4 de mayo de 2014): 131–43. http://dx.doi.org/10.1080/19443927.2014.908141.

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5

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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6

Forsythe, James. "Spirituality in Actor Training". Theatre Research in Canada 17, n.º 1 (enero de 1996): 67–82. http://dx.doi.org/10.3138/tric.17.1.67.

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Elements of the spiritual practices of other cultures, specifically Taoism and Zen Buddhism, are employed in 'Western' conservatory acting schools. This article will examine the context of the relationship between spirituality and actor training using examples from the techniques of specific teachers working in the field.

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7

Forsythe, James. "Spirituality in Actor Training". Theatre Research in Canada 17, n.º 1 (enero de 1996): 67–82. http://dx.doi.org/10.3138/tric.17.1.67.

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8

Zazzali, Peter. "Utopia in Actor Training". Performance Research 25, n.º 8 (16 de noviembre de 2020): 25–32. http://dx.doi.org/10.1080/13528165.2020.1930777.

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9

Barton, Robert. "Therapy and Actor Training". Theatre Topics 4, n.º 2 (1994): 105–18. http://dx.doi.org/10.1353/tt.2010.0081.

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10

Hurt, Melissa. "Yoga and actor training". Voice and Speech Review 10, n.º 2-3 (septiembre de 2016): 205–7. http://dx.doi.org/10.1080/23268263.2016.1333200.

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11

Tessari, Roberto. "Actor Training in Italy". New Theatre Quarterly 4, n.º 14 (mayo de 1988): 181–92. http://dx.doi.org/10.1017/s0266464x00002712.

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‘Fools and graceless buffoons’ was one Italian playwright's view of Italian acting at the turn of the nineteenth century – and the political and linguistic fragmentation of the country continued to prevent any national approach to the problems of actor training. By the beginning of the present century the situation was beginning to improve, but until the ‘sixties the National Academy of Dramatic Art in Rome remained the single major training institution in the country. In this article, Roberto Tessari looks at the explosion of opportunities for actor training – and the wide range of approaches to it – which then occurred, largely since the ‘events’ of 1968. He quotes directly from the teachers involved to illustrate the aims of the various schools, which are now beginning a necessary process of consultation – over such matters as assessment procedures and the placement of students – through the annual ‘Prima del Teatro’ meetings hosted by the Pisa Theatre.

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12

McCaw, Dick. "Yoga and Actor Training". Theatre, Dance and Performance Training 7, n.º 1 (2 de enero de 2016): 124–26. http://dx.doi.org/10.1080/19443927.2016.1148933.

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13

Rea, Ken. "Diagrams in actor training". Theatre, Dance and Performance Training 7, n.º 2 (3 de mayo de 2016): 327–28. http://dx.doi.org/10.1080/19443927.2016.1210918.

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14

Cronin, Bernadette. "Yoga and actor training". Studies in Theatre and Performance 36, n.º 2 (18 de febrero de 2016): 191–92. http://dx.doi.org/10.1080/14682761.2016.1140946.

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15

Stamatiou, Evi. "Pierre Bourdieu and actor training: towards decolonising and decentering actor training pedagogies". Theatre, Dance and Performance Training 13, n.º 1 (2 de enero de 2022): 96–114. http://dx.doi.org/10.1080/19443927.2021.1943509.

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16

Avila, Roxana y David Korish. "Intensive Actor Training in Costa Rica". New Theatre Quarterly 20, n.º 1 (5 de enero de 2004): 87–90. http://dx.doi.org/10.1017/s0266464x03220364.

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17

Espinosa, Micha. "The expressive actor, integrated voice, movement, and actor training". Voice and Speech Review 10, n.º 1 (2 de enero de 2016): 83–85. http://dx.doi.org/10.1080/23268263.2016.1228795.

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18

Hingorani, Dominic. "Ethnicity and actor training: A British Asian actor prepares". South Asian Popular Culture 7, n.º 3 (octubre de 2009): 165–78. http://dx.doi.org/10.1080/14746680903125515.

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19

Bailey, Erika. "Arthur Lessac’s embodied actor training". Voice and Speech Review 10, n.º 1 (2 de enero de 2016): 85–89. http://dx.doi.org/10.1080/23268263.2016.1183876.

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20

Pratt Cooney, Mary y Shlomo Sawilowsky. "Process Drama and Actor Training". Youth Theatre Journal 19, n.º 1 (mayo de 2005): 55–70. http://dx.doi.org/10.1080/08929092.2005.10012576.

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21

Sobkin, V. S., T. A. Lykova y M. V. Siyan. "Actor Training: Competencies or Aptitude". Cultural-Historical Psychology 18, n.º 4 (2022): 90–101. http://dx.doi.org/10.17759/chp.2022180409.

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<p>This paper examines the concepts of "competence" and "aptitude" in the federal state educational standards. The study substantiates the need for returning to the theoretical notions of aptitude, as developed in domestic psychology, when training specialists for creative professions. The authors analyse the content dynamics of the higher education standards in the acting profession across 2002, 2010, 2017 and 2021. The notion of aptitude is considered from the standpoint of S. L. Rubinstein's and A. N. Leontiev's activity theory and B. M. Teplov's concept of individual differences. Content analysis of the concepts of "competence" and "aptitude" demonstrates that the competence-based approach helps sustain the graduate's universal characteristics, which does not align with the educational process in the acting profession, focused on the individual approach and talent development. The authors note that the content of competencies does not account for the subject's unique characteristics, and is reduced to knowledge, skills, and abilities. The study thus emphasises the relevance of establishing a psycho-pedagogical service in higher education for creative professions</p>

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22

Allain, Paul. "Digital perspectives for actor training". Tekstualia 1, n.º 76 (22 de marzo de 2024): 177–92. http://dx.doi.org/10.5604/01.3001.0054.4482.

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This article explores how actor training, and physical actor training especially, can shift fromthe well-established historical norm of live workshop interaction to embrace online possibilities.It briefl y examines some of the contextual issues around institutional approaches to training, includingstudents’ expectations, and charts some digital innovations in the fi eld. It then traces theauthor’s own evolutionary history of publishing using analogue and then digital tools, from drawings,through CD-ROMs and DVDs to online materials. This has culminated in the publicationpre-pandemic, though anticipating subsequent shifts online, of ‘Physical Actor training – an onlineA-Z’ (PATAZ), for Methuen Drama Bloomsbury. PATAZ is introduced as a case study, showing howthe project team developed fi lm material as a means to articulate key aspects of training practice;for example by showing the learning and training process, for presenting voice work and for actors’explorations of space and movement. The article describes how the project’s fi lms were augmentedwith various digital tools, such as on-screen animation and it introduces some of the rangeof approaches in fi lming and editing that were adopted to differentiate each term. It concludesby suggesting that we are only at the beginning of a digital revolution regards actor training,its documentation and analysis and related publishing practices.

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23

Gee, Emma y Matt Hargrave. "A proper actor? The politics of training for learning disabled actors". Theatre, Dance and Performance Training 2, n.º 1 (marzo de 2011): 34–53. http://dx.doi.org/10.1080/19443927.2011.545252.

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24

Christmann, Mark, Tanja Jacobs y David Wright. "Dialogue on Training". Canadian Theatre Review 78 (marzo de 1994): 8–12. http://dx.doi.org/10.3138/ctr.78.002.

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Various programs offered across Canada by colleges, universities, theatres and private studios indicate possible routes for actor training, but how do actors consider ongoing training? Questions of fundamental, introductory training versus professional development are put into perspective by this dialogue. Mark Christmann and Tanja Jacobs address a potential restructuring of production strategies, personal responsibility for artistic growth and, consequently, the perception of the profession of a performing artist.

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25

Kassab, Eva S., Dominic King, Louise M. Hull, Sonal Arora, Nick Sevdalis, Roger L. Kneebone y Debra Nestel. "Actor training for surgical team simulations". Medical Teacher 32, n.º 3 (enero de 2010): 256–58. http://dx.doi.org/10.3109/01421590903514648.

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26

Greyeyes, Michael. "Signal Theatre, Creation, and Actor Training". Canadian Theatre Review 165 (enero de 2016): s1—s2. http://dx.doi.org/10.3138/ctr.165.001b.

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27

Zazzali, Peter. "Actor Training in New York City". PAJ: A Journal of Performance and Art 35, n.º 1 (enero de 2013): 49–56. http://dx.doi.org/10.1162/pajj_a_00124.

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28

Wedderburn, Eve. "Violence in Martial Arts Actor Training". Performance Research 21, n.º 3 (3 de mayo de 2016): 84–91. http://dx.doi.org/10.1080/13528165.2016.1176741.

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29

Mitas, Jen. "The Politics of American Actor Training". Theatre, Dance and Performance Training 2, n.º 2 (septiembre de 2011): 277–78. http://dx.doi.org/10.1080/19443927.2011.615566.

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30

Daugherty, Diane y Phillip B. Zarrilli. "Asian Martial Arts in Actor Training". Asian Theatre Journal 13, n.º 1 (1996): 135. http://dx.doi.org/10.2307/1124311.

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31

Hwang, Seokha. "A Study on the Training Methods for Strengthening the Presence of Actors through Traditional Asian Performing and Martial Arts: Focusing on the Barba, Zarrilli". Korean Society of Culture and Convergence 45, n.º 7 (31 de julio de 2023): 867–78. http://dx.doi.org/10.33645/cnc.2023.07.45.07.867.

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The purpose of this paper is to examine the training methods used by Western directors influenced by traditional Asian performing and martial arts to strengthen the presence of actors. Despite the differences in the ways the Barba and Zarrilli encountered, experienced and applied traditional Asian performing and martial arts, their view of ‘actor training’ is relatively similar. The directors remind us of the importance of training - the process of ‘self-definition’ - through which the actor corrects his/her wrong perception caused by the lack of control of the body. The training that strengthens the presence of an actor should be an ‘non-daily’ training as well as ‘psychophysical’ wherein the mind and body are organically integrated. The actor needs training that enables breathing to be organically integrated with ‘ki-energy’ rooted in the danjeon area and that encourages the development of the ‘dilated body’ through the actor’s projection of his/her energy enabled by his/her spatial ‘sensory awareness’.

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32

Kapsali, Maria. "Rethinking actor training: training body, mind and … ideological awareness". Theatre, Dance and Performance Training 4, n.º 1 (marzo de 2013): 73–86. http://dx.doi.org/10.1080/19443927.2012.719834.

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33

Corrigan, Roberta y Cyndie Odya-Weis. "The comprehension of semantic relations by two-year-olds: an exploratory study". Journal of Child Language 12, n.º 1 (febrero de 1985): 47–59. http://dx.doi.org/10.1017/s030500090000622x.

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ABSTRACTA token-placement technique was used to investigate the influence of actor and patient animacy in determining which sentences 48 2-year-olds viewed as prototypical. After training on one of three sentence types that varied in the animacy/inanimacy of actors and patients, all children were tested for generalization on pictures with different animacy/inanimacy patterns. While most children placed actor tokens on generalization sentences correctly, regardless of animacy, half responded randomly in patient token placement. Type of training only affected children who, overall, were random responders. The results suggest that the actor category is usually acquired first for prototypical sentences with animate actors and inanimate patients.

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34

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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35

Karki Kshetri, Dibendra Bahadur. "Seeking Stanislavski Techniques of Actor Training in Nepalese Context from His Book An Actor Prepares". Journal of Development and Social Engineering 8, n.º 01 (31 de diciembre de 2022): 29–38. http://dx.doi.org/10.3126/jdse.v8i01.54265.

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This paper aims at searching for techniques of actor training in Nepal associating similarities (or differences if any) theorized by Constantin Stanislavski (1863-1938), a Russian theatre director in his book An Actor Prepares. The acting ‘system’ also known as ‘method’ is an approach to acting, developed in the 1920s to support actors in the process of embodying and enacting a role. Although acting may not be an exact science, there is a method to the madness as the package of three-month actor training in Nepali Acting Schools (Gurukul, Actor’s Studio, Mandala, and Sarwanam) like Stanislavski’s. When the body is true, the soul reacts. When the body lies, the soul gets frightened. Where there is truth and belief, actors have genuine, productive, specific action, experiences, the subconscious, creativity and art. Actors communicate others in creative and convincing ways. People look for creative instincts, innate talent, and intellectual capacity to perform. Performance, connected to everyday life, is both believing and living. Theatre/Film has been considered as an important platform to showcase socio-political, eco-cultural or historic- religious realities in Nepal.

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36

Yu, Hanfei, Jian Li, Yang Hua, Xu Yuan y Hao Wang. "Cheaper and Faster: Distributed Deep Reinforcement Learning with Serverless Computing". Proceedings of the AAAI Conference on Artificial Intelligence 38, n.º 15 (24 de marzo de 2024): 16539–47. http://dx.doi.org/10.1609/aaai.v38i15.29592.

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Deep reinforcement learning (DRL) has gained immense success in many applications, including gaming AI, robotics, and system scheduling. Distributed algorithms and architectures have been vastly proposed (e.g., actor-learner architecture) to accelerate DRL training with large-scale server-based clusters. However, training on-policy algorithms with the actor-learner architecture unavoidably induces resource wasting due to synchronization between learners and actors, thus resulting in significantly extra billing. As a promising alternative, serverless computing naturally fits on-policy synchronization and alleviates resource wasting in distributed DRL training with pay-as-you-go pricing. Yet, none has leveraged serverless computing to facilitate DRL training. This paper proposes MinionsRL, the first serverless distributed DRL training framework that aims to accelerate DRL training- and cost-efficiency with dynamic actor scaling. We prototype MinionsRL on top of Microsoft Azure Container Instances and evaluate it with popular DRL tasks from OpenAI Gym. Extensive experiments show that MinionsRL reduces total training time by up to 52% and training cost by 86% compared to latest solutions.

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37

Jeong, Min Young. "Study on Acting System for Training Actor". Journal of acting studies 9 (30 de junio de 2017): 1–20. http://dx.doi.org/10.26764/jas.2017.9.1.

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38

Peters, Charlie. "Queering Actor Training and Supporting Gender Dissidence". Canadian Theatre Review 189 (1 de enero de 2022): 84–86. http://dx.doi.org/10.3138/ctr.189.016.

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This article reviews Conrad Alexandrowicz’s Acting Queer: Gender Dissidence and the Subversion of Realism, a monograph that sets out to explore the experiences of gender-nonconforming performers in contemporary actor training. Peters outlines the strengths and limitations of Alexandrowicz’s wide-ranging work, particularly with regard to the level of specificity (or lack thereof) it offers regarding alternatives to current practices. While celebrating the work as an introduction to a wide range of thinking on gender in performance and in society more broadly, Peters is critical of certain sections as potentially harmful to the very gender-dissident performers the work is attempting to empower. Overall, Peters concludes that Acting Queer can serve as an introduction to queer and gender theory for practitioners and pedagogues and might serves as a springboard for further thinking regarding the training of performing artists in North America.

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39

Hayes, Janys. "GESTURE IN ACTOR TRAINING: EMBODIED PARTIAL NARRATIVES". Southern Semiotic Review, n.º 11 (20 de diciembre de 2019): 82–95. http://dx.doi.org/10.33234/ssr.11.6.

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40

Clinton, Craig. "Training the Actor: Belasco and Mrs Carter". Nineteenth Century Theatre and Film 29, n.º 1 (mayo de 2002): 66–79. http://dx.doi.org/10.7227/nctf.29.1.5.

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41

Belshaw, Diana. "An Approach to Actor Training—Humber Theatre". Canadian Theatre Review 160 (octubre de 2014): s1—s16. http://dx.doi.org/10.3138/ctr.160.001b.

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42

Moore, Tracey. "Rethinking Actor Training for the iPhone Generation". Teaching Artist Journal 15, n.º 2 (3 de abril de 2017): 68–76. http://dx.doi.org/10.1080/15411796.2017.1340708.

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43

Beeman, William O. y Mohammad B. Ghaffari. "Acting Styles and Actor Training in Taziyeh". TDR/The Drama Review 49, n.º 4 (diciembre de 2005): 48–60. http://dx.doi.org/10.1162/105420405774762943.

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44

Armstrong, Eric. "Efficacy in phonetics training for the actor". Voice and Speech Review 10, n.º 1 (2 de enero de 2016): 36–52. http://dx.doi.org/10.1080/23268263.2017.1282676.

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45

Freeman, John. "Performance studies, actor training and boutique borrowing". Studies in Theatre & Performance 33, n.º 1 (1 de enero de 2013): 77–90. http://dx.doi.org/10.1386/stap.33.1.77_1.

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46

Allain, Paul. "Physical actor training 2.0: new digital horizons". Theatre, Dance and Performance Training 10, n.º 2 (4 de mayo de 2019): 169–86. http://dx.doi.org/10.1080/19443927.2019.1609074.

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47

Curnett, Ethan Jacob. "Identity and the Rhythms of Actor Training". ISSUE Special Vol (2022): 141–43. http://dx.doi.org/10.33671/isssicur.

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48

Montanini, Lorenzo. "SITI Training: Viewpoints and the Suzuki Method for Cross-Cultural Collaboration". New Theatre Quarterly 40, n.º 1 (febrero de 2024): 48–61. http://dx.doi.org/10.1017/s0266464x23000349.

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The training that the Saratoga International Theater Institute (SITI) perfected during its thirty years of existence is its most relevant heritage. SITI believed that training was a crucial part of a performer’s education and ethos. Its constitutive elements – Viewpoints and the Suzuki Method for actor training – are here put in a dialectical opposition that nurtures hybridization. This article investigates how, in fact, these two trainings intersect and also form new ‘languages’ (that is, systems of representation) whenever they are performed. A contextual analysis of SITI’s training as a foundation for making work and as a means for educating actors provides a clearer understanding of why and how SITI training is an instrument that facilitates and fosters cross-cultural collaboration.

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49

Holstrom, Chris. "Moving Towards an Actor-Based Model for Subject Indexing". NASKO 7, n.º 1 (23 de septiembre de 2019): 120. http://dx.doi.org/10.7152/nasko.v7i1.15631.

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This paper presents a preliminary exploration of an actor-based model for subject indexing, which considers four types of actors: professional indexers, domain experts, casual indexers, and machine algorithms. The paper describes each of the four actors, enumerating differences in approach, training, methodology, priorities, and tools, as well as similarities and historical collaborations between actors. The paper then explores how the actor-based model for subject indexing might serve as a complement to existing models that focus on processes, methods, disciplinary norms, and cultural biases by defining and exploring the following key properties of an actor-based model for subject indexing: 1) actors are the primary drivers of subject indexing work, 2) observing and understanding many types of actors’ processes in real-life situations is as valuable as prescribing correct methods for professional subject indexing, and 3) multiple and different types of actors can perform subject analysis work and subject representation work on the same information objects, and these hybrid (multi-actor) approaches to subject indexing are explicitly supported. These key properties suggest that an actor-based model for subject indexing might open new research opportunities and encourage new hybrid and collaborative approaches to knowledge organization.

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50

Liu, Lingjie, Marc Habermann, Viktor Rudnev, Kripasindhu Sarkar, Jiatao Gu y Christian Theobalt. "Neural actor". ACM Transactions on Graphics 40, n.º 6 (diciembre de 2021): 1–16. http://dx.doi.org/10.1145/3478513.3480528.

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We propose Neural Actor (NA), a new method for high-quality synthesis of humans from arbitrary viewpoints and under arbitrary controllable poses. Our method is developed upon recent neural scene representation and rendering works which learn representations of geometry and appearance from only 2D images. While existing works demonstrated compelling rendering of static scenes and playback of dynamic scenes, photo-realistic reconstruction and rendering of humans with neural implicit methods, in particular under user-controlled novel poses, is still difficult. To address this problem, we utilize a coarse body model as a proxy to unwarp the surrounding 3D space into a canonical pose. A neural radiance field learns pose-dependent geometric deformations and pose- and view-dependent appearance effects in the canonical space from multi-view video input. To synthesize novel views of high-fidelity dynamic geometry and appearance, NA leverages 2D texture maps defined on the body model as latent variables for predicting residual deformations and the dynamic appearance. Experiments demonstrate that our method achieves better quality than the state-of-the-arts on playback as well as novel pose synthesis, and can even generalize well to new poses that starkly differ from the training poses. Furthermore, our method also supports shape control on the free-view synthesis of human actors.

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Artículos de revistas sobre el tema "Actor training"

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