Tesi sul tema "Actor training"
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Moor, Andrea L. "Contemporary actor training in Australia". Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63083/1/Andrea_Moor_Thesis.pdf.
Testo completoPippen, Judith Irene. "Inscribing actors' bodies : towards an epistemology of movement praxis in actor training". Thesis, Queensland University of Technology, 1998.
Cerca il testo completoMcPherson, Leith. "Shakespeare's verse and the training actor". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2009. https://ro.ecu.edu.au/theses/163.
Testo completoPryde, Bernadette Anne. "Languaging the actor : an examination of the terminology used in actor training". Thesis, Queensland University of Technology, 2002. https://eprints.qut.edu.au/36445/1/Bernadette_Pryde_Thesis.pdf.
Testo completoTaylor, Susan Leith. "Actor training and emotions: Finding a balance". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2016. https://ro.ecu.edu.au/theses/1804.
Testo completoMann, Laurin Marie. "Actor training in Toronto, theory in practice". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0006/NQ41229.pdf.
Testo completoJohnson, Anthony Lewis. "Training the Young Actor: A Physical Approach". University of Akron / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=akron1258075804.
Testo completokennedy, Janice. "Actor Training and the Theatre Industry in Ireland". Thesis, Ulster University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.502897.
Testo completoWion, Brenda. "Transforming Actor Training: Michael Chekhov's Psycho-Physical Technique". University of Akron / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=akron1208278580.
Testo completoWoods, Simon. "Suzuki and beyond : adapting the Suzuki actor training method /". [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19801.pdf.
Testo completoGomes, Marc Andrew. "Cognitive science approaches to actor training| Interrogating conceptual language". Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10255101.
Testo completoThis thesis explores the ways in which the fields of neurobiology and cognitive science impact concepts of performer processes, and how the findings of this research can help actors and actor trainers to examine assumptions that inform how they frame and describe performer practices. Cognitive science research provides a precise understanding of the embodied processes of “self”, “consciousness”, “emotion” and “perceiving”, and I argue that it is productive to interrogate these terms as they pertain to descriptions of the actor’s practice and performer training.
In this thesis I describe the relevance of cognitive science findings to theatre with respect to concepts commonly advanced in actor training in the United States, namely the “self,” “truth,” and “authentic.” I offer a reconsideration of these concepts through a cognitive science lens that opens up possibilities for emerging dramatic and performance paradigms. I then propose the development of a “corporeal intelligence,” that enables an actor to propose gestures, movement, vocal strategies, and action
Rossi, Marion O. "Life skills and actor training : pedagogical attitudes and approaches /". view abstract or download file of text, 1999. http://wwwlib.umi.com/cr/uoregon/fullcit?p9957573.
Testo completoTypescript. Includes vita and abstract. Includes bibliographical references (leaves 192-197). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9957573.
Greer, Deborah A. "Actor training and charismatic group structure : a comparative study /". view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3072585.
Testo completoTypescript. Includes vita and abstract. Includes bibliographical references (leaves 182-188). Also available for download via the World Wide Web; free to University of Oregon users.
Selioni, Vasiliki. "Laban-Aristotle : Zώον (Zoon) in theatre Πράξις (praxis) : towards a methodology for movement training for the actor and in acting". Thesis, Central School of Speech and Drama, 2013. http://crco.cssd.ac.uk/460/.
Testo completoSalsbury, Katharine. "ESTILL VOICE TRAINING: THE KEY TO HOLISTIC VOICE AND SPEECH TRAINING FOR THE ACTOR". VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3384.
Testo completoMorris, Eilon. "VIA RHYTMÓS : an investigation of rhythm in psychophysical actor training". Thesis, University of Huddersfield, 2013. http://eprints.hud.ac.uk/id/eprint/17541/.
Testo completoKapsali, Maria. "The use of yoga in actor training and theatre making". Thesis, University of Exeter, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.535885.
Testo completoMay, Asha Kamali. "Reducing interference| Harnessing the power of spirituality in actor training". Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10124513.
Testo completoThis thesis investigates spirituality as a tool to reduce interference in actor training. Interference is defined as anything that inhibits the actor from reaching full potential in performance. Actor training promises to prepare the actor for performance; however, the looming threat of anxiety often debilitates the actor, blocking him/her from reaching full potential. This thesis investigates spirituality as a tool to reduce interference, while exploring the relationship between the actor and fear. This thesis defines spirituality as a metaphysical power used to release habitual tension in the actor, and not as a religious term. Through Eastern practices, sports psychology, and techniques espoused by master teachers Michael Chekhov and Jerzy Grotowski, this thesis argues that harnessing the power of spirituality can be an effective way to reduce interference in performance.
Brown, Megan Rebecca. "Psychology and the Theatre: A Qualitative Experiment in Actor Training". VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1132.
Testo completoBuswell, Wendy Susan. "That spatial shit: Exploring the space between actor training and training to play rugby union". Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/14471.
Testo completoKapadocha, Christina. "Being an actor/becoming a trainer : the embodied logos of intersubjective experience in a somatic acting process". Thesis, Royal Central School of Speech & Drama, 2016. http://crco.cssd.ac.uk/648/.
Testo completoLawler, Dwayne P. "De-Domesticating the Actor: Applying Ankoku Butoh's Training Process of De-domestication to Develop Presence in Western Actor Training through Experiences of Awareness, Discipline and Energy". Thesis, Griffith University, 2021. http://hdl.handle.net/10072/404471.
Testo completoThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Hum, Lang & Soc Sc
Arts, Education and Law
Full Text
Loth, Joanne Marie. "Developing a theatre of the integrated actor : the application of the Suzuki actor training method within three theatrical contexts". Thesis, Queensland University of Technology, 2001. https://eprints.qut.edu.au/35837/1/35837_Digitised%20Thesis.pdf.
Testo completoShaw, Christopher. "Masked to unmasked| The value of mask work in actor training". Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1528046.
Testo completoActors create blocks based in fear, over-intellectualization of acting concepts, and the limiting assumptions they often make from any given theatrical text. Mask work can release the actor out of fear and into a non-intellectualized flow of freedom, expressivity and character transformation. Exploration with the various pedagogies and styles of Mask work can open doors for the actor that other contemporary training methods cannot, and therefore should be considered an essential component of the actor's training process.
Accetta, Valerie. "Singing for the Actor: An Interdisciplinary Approach to Musical Theatre Training". VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/2991.
Testo completoRoberts, Corey Justin. "Consuming Brazil: Afro Brazilian Religion as a Base for Actor Training". VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1023.
Testo completoSchultz, Waldemar. "Training the student actor in the production process : a look at areas in which a director within a training institution can facilitate the learning process in a student actor". Thesis, Stellenbosch : Stellenbosch University, 1997. http://hdl.handle.net/10019.1/55769.
Testo completoENGLISH ABSTRACT: A thesis in which the author examines ways in which the director within an acting training institution may use the full-scale theatre production as a means of intense training for the students involved. The author contends that much of the theory and practical work taught within a classroom situation cannot be fully comprehended and/or brought to fruition if it is not tested and experienced within as realistic (pertaining to professional theatre) as possible a scenario, in the form of the student production. For the purposes of this thesis, the typical practical production process is used as a model and different areas in which the director may act as a teacher or catalyst to self-discovery are discussed largely in the order in which they might occur in practice. The author concludes that to provide intensive training through the production process would be a very time-consuming and costly endeavour, although very rewarding if it were at all possible. In addition to this, it would require a highly qualified director-trainer, with an holistic understanding of the 'theatrical art, who is prepared to invest a great amount of time and effort in such a production. Research for this thesis included reading material, practical directing and acting projects, and teaching practical acting in the capacity of a part-time lecturer at the University of Stellenbosch Drama Department.
AFRIKAANSE OPSOMMING: 'n Tesis waarin die outeur maniere ondersoek waardeur 'n regisseur binne 'n akteurs-opleidingsinstansie die volskaalse teaterproduksie kan gebruik as 'n metode vir intense opleiding vir die betrokke studente. Die outeur meen dat 'n groot gedeelte van die teorie en praktiese opleiding wat in die klaskamer weergegee word, nie ten voile verstaan of benut word, tensy die student dit beproef en beleef in so 'n realisties (wat professionele teater betref) moontlike scenario, in die vorm van 'n studenteproduksie. Vir die doeleindes van hierdie tesis word 'n tipiese produksieproses as model gebruik, en verskeie areas waarin die regisseur as onderwyser of katalisator tot selfontdekking kan optree, word grotendeels bespreek in die volgorde waarin dit in die praktyk mag voorkom. Die gevolgtrekking is dat intensiewe opleiding in die produksieproses 'n uiters tydsame en duur oefening sou wees, dog baie lonend indien prakties uitvoerbaar. Daarby sou dit 'n hoogs gekwalifiseerde regisseur-opleier verg, met 'n holistiese kennis van die teaterkuns, wat bereid is om baie tyd en moeite op s6 'n produksie te bestee. Navorsing vir hierdie tesis sluit in leeswerk, praktiese regie- en toneelspelprojekte sowel as klasgee in toneelspel as deeltydse lektor aan die Universiteit van Stellenbosch se Departement Drama.
Yoo, Jeung-Sook. "Toward a Korean Language and Psychophysical Process of Approaching Acting and Actor Training". Thesis, University of Exeter, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.484825.
Testo completoRessegger-Slone, Elizabeth. "Movement for the Actor: A Practical Approach to the Application of Movement Training". VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2449.
Testo completoFerrell, Matthew B. "Should We Straighten Up? Exploring the Responsibilities of Actor Training for LGBTQ Students". VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4895.
Testo completoRobins, Gavin. "Moving the actor : towards an holistic approach to training and devising for performance". Thesis, Queensland University of Technology, 2002.
Cerca il testo completoZECCA, CHRISTIAN. "Towards the organic actor: neuroplastic training for the dynamic activation of presence energy". Doctoral thesis, Università degli studi di Genova, 2018. http://hdl.handle.net/11567/929875.
Testo completoRawlins, Trevor. "Studying acting : an investigation into contemporary approaches to professional actor training in the UK". Thesis, University of Reading, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.594176.
Testo completoMelson, Kelli Jeanine. "The practice and pedagogy of Vsevolod Meyerhold's living legacy of actor training : theatrical biomechanics". Thesis, University of Exeter, 2009. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508276.
Testo completoCrothers, Chelsea. "Performer training evolutions: NSP the firstborn son of SMAT". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2414.
Testo completoEvans, Mark A. "Movement training for the English actor in the twentieth century : conceptual structures and body learning". Thesis, Coventry University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270693.
Testo completoSwart, Rufus. "Towards an integrated theory of actor training : conjunctio oppositorum and the importance of dual consciousness". Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95983.
Testo completoENGLISH ABSTRACT: The proliferation of Western actor training methods in the past century had mainly been derived from the groundbreaking research undertaken by Vladimir Nemirovich-Danchenko and Constantin Stanislavski at the Moscow Art Theatre, as well as their students Michael Chekhov, Vsevolod Meyerhold and Evgeny Vakhtangov. Poor translations of their original Russian texts have however meant that many of the principles they discovered were compromised due to misinterpretations. Yet, the ‘system’ of Stanislavski, a veritable repository of these theories, served as a template for acting teachers ranging from former American Group Theatre members such as Stella Adler, Morris Carnovsky, Robert Lewis, Sanford Meisner and Lee Strasberg, and the Polish director Jerzy Grotowski, to formulate their own distinctive techniques. The result has been a challenge to traditional notions of actors as impersonators to a more holistic view of actor-performers; versatile, multi-skilled artists willing to reveal themselves through sincere disclosures to an audience, as the theatre poet Antonin Artaud advocated they should. Although this interrogation of the essential nature of the 2,600 year old art of Thespis was necessary, there is a danger that its core tenets may have been marginalised in the process, a setback which might further delay the formulation of its own science. This research was undertaken to identify the core principles of the actor’s art that distinguish it from the other performing arts, as well as to determine how these might best be conveyed to student actors in a contemporary context. Employing the ‘system’ as a guide, in particular its ‘work on oneself’ process, which refers to an actor’s personal training, as opposed to ‘work on a role’, which relates to characterisation and performance, the theories of the abovementioned practitioners were examined and compared to Stanislavski’s to ascertain if they contributed to the further evolution of the art. Once an integrated theory of training emerged it was then tested in praxis, working with different groups of students during a three year period. This thesis documents the findings of both the literary research, based on an analysis of texts related to actor training, and those derived from ‘real-world’ applications of these theories in an Higher Education environment. A key aim of the study was thus to determine whether a ‘work on oneself’ form of training could be offered in the formal education sector, despite its psychological implications, and how this might be approached in a ‘healthy’ manner. A selection of audio-video recordings done during the empirical investigation accompanies the thesis in order to substantiate its theory.
AFRIKAANSE OPSOMMING: Die verspreiding van opleidingsmetodes vir Westerste akteurs in die afgelope eeu het hoofsaaklik ontstaan uit die baanbrekers-navorsing van Vladimir Nemirovich-Danchenko en Constantin Stanislavski aan die Moskou Kunsteater, sowel as dié van hul studente Michael Tsjechov, Vsevolod Meyerhold en Evgeny Vakhtangov. Swak vertalings van die oorspronklike Russiese tekste beteken egter dat van die beginsels wat hulle ontdek het weens misverstande gekompromiteer is. Tog het die 'stelsel' van Stanislavski, as neerslag van hierdie teorieë, as 'n templaat vir toneelspelopleiders gedien wat wissel van voormalige lede van die Amerikaanse Groep Teater soos Stella Adler, Morris Carnovsky, Robert Lewis, Sanford Meisner en Lee Strasberg, sowel as die Poolse regisseur Jerzy Grotowski, om hul eie kenmerkende tegnieke te formuleer. Die gevolg was 'n uitdaging van tradisionele sienswyses van akteurs as nabootsers tot 'n meer holistiese sienswyse van akteurs as veelsydige, multi-bekwame kunstenaars wat gewillig is om hulself opreg te onthul voor 'n gehoor, soos die teater-digter Antonin Artaud voorgestel het hul moet. Alhoewel hierdie bevraagtekening van die essensiele aard van die 2,600 jaar oue kuns van Thespis nodig was, is daar 'n gevaar dat sy kern-beginsels in die proses gemarginaliseer is, 'n terugslag wat die formulering van die kunsvorm se eie wetenskap verder mag vertraag. Hierdie navorsing is onderneem om hierdie kernbeginsels van die akteur se kuns te identifiseer wat dit van die ander uitvoerende kunste onderskei, asook om te bepaal hoe hulle die beste oorgedra kan word aan student-akteurs in 'n kontemporêre konteks. Deur die 'stelsel' as 'n gids aan te wend, in besonder die ‘werk aan jouself’ proses wat verwys na 'n akteur se persoonlike opleiding in teenstelling met ‘werk aan 'n rol’ wat verwys na karakterisering en performance, is die teorieë van die bogenoemde praktisyns ondersoek en vergelyk met Stanislavski s’n om te bepaal of hul bygedra het tot die kunsvorm se verdere ontwikkeling. Toe 'n geïntegreerde teorie van opleiding te voorskyn gekom het, is dit prakties getoets met verskeie groepe studente oor 'n tydperk van drie jaar. Hierdie tesis dokumenteer die bevindinge van beide die literêre navorsing, gebaseer op 'n ontleding van tekste wat verband hou met akteuropleiding, en die bevindinge wat uit die toepassing van die teorieë in 'n Hoër Onderwys omgewing gegroei het. 'n Belangrike doel van die studie was dus om te bepaal of 'werk aan jouself’ as opleiding in die formele onderwys sektor aangebied kan word, ten spyte van die sielkundige implikasies, en hoe dit dalk op 'n ‘gesonde’ wyse benader kan word. 'n Seleksie van klank-en-video opnames wat tydens die empiriese ondersoek gedoen is, word dus by die tesis ingesluit om sekere teorieë te ondersteun.
Pye, Valerie Clayman. "The influence of Shakespeare's globe on actor training and contemporary performance in End-on theatres". Thesis, University of Exeter, 2011. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.548827.
Testo completoSmith, Andrew L. "Playing to the beat, a play, devising and collective creation in actor training, an exegesis". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2578.
Testo completoPrior, Ross W. "Characterising Actor Trainers' Understanding of their Practice in Australian and English Drama Schools". Thesis, Griffith University, 2005. http://hdl.handle.net/10072/366623.
Testo completoThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Vocational, Technology and Arts Education
Full Text
Vorontsova, Hikmet Sabahat Özgüler. "Tradição e modernidade na preparação do actor-marionetista". Master's thesis, Universidade de Évora, 2012. http://hdl.handle.net/10174/14935.
Testo completoBatzoglou, Antonia. "Towards a theatre of psychagogia : an experimental application of the Sesame approach into psychophysical actor training". Thesis, Central School of Speech and Drama, 2012. http://crco.cssd.ac.uk/381/.
Testo completoSandström, Karoliina. "Self and no-self : an examination of the role of ideas about the self in actor training". Thesis, University of Huddersfield, 2013. http://eprints.hud.ac.uk/id/eprint/20887/.
Testo completoSloan, Dennis. "From la Carpa to the Classroom: The Chicano Theatre Movement and Actor Training in the United States". Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1584738087430235.
Testo completoVidal, Christopher Drew. "Integrating Actor Training into Movement Design: An Analysis of the Fight Direction in Tamburlaine and Edward II". VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/770.
Testo completoGlidden, Jennifer. "A Contemporary Application of Boris Goldovsky’s Method for Training the Operatic Singer-actor: a Model for Today’s University Opera Workshop Instructor". Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699901/.
Testo completoPunpeng, Grisana. "Meditation in motion to mindfulness in performance : a psychophysical approach to actor training for Thai undergraduate drama programmes". Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/3652.
Testo completoGarre, Rubio Soledad Pilar. "Shifting paradigms of practice in 'Interpretación Gestual' : integrating bodymind training with Michael Chekhov's acting techniques within the context of training professional actors in Spain". Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/8281.
Testo completoSarmento, JÃlia Peredo. "The crazy rasaboxes: production intensity in the actor's work". Universidade Federal do CearÃ, 2015. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=14267.
Testo completoRasaboxes is a playful dynamic of physical training for actors / performers practiced on a tray, on other words, on a square drawn on the floor, divided in nine boxes. This boxes are named with nine rasas, or flavors, in sanskrit. The player must try each rasa, putting it bodily in the space. The player must change immediately his body state whenever changes the box. The rasas are: bibhasta/disgust, sringara/love, bhayanaka/fear, hasya /laugh, adbhuta/surprise, vira/courage, karuna/sadness, raudra/anger and shanta/peace. Based on the derridian notion of getting the subjetil crazy, there was a practical investigation where the words that constitute the Rasaboxes's tray were deployed in synonymous and gradations, creating other eight trays that invite to exercise the production of affections on / for the body. This work pretends to discuss the results of this research through three decisive instances of the Rasaboxes - the space, the words and the body. Notions as the Neutral , the sensation and the vibrating body dialogue with this study to think intensively the actor labor nowadays.
O Rasaboxes à uma dinÃmica lÃdica de treinamento fÃsico para atores/performers praticada num tabuleiro, ou seja, num quadrado riscado no chÃo, dividido em nove boxes, nomeados com nove rasas, ou sabores, em sÃnscrito. O jogador deve experimentar cada rasa, colocando-a corporalmente no espaÃo. Sempre que mudar de box, o jogador deve mudar imediatamente seu estado corporal. As rasas sÃo: Bibhasta-nojo, Sringara-amor, Bhayanaka-medo, Hasya-riso, Adbhuta-surpresa, Vira-coragem, Karuna-tristeza, Raudra-raiva e Shanta-paz. A partir da noÃÃo derridiana de enlouquecimento do subjÃtil, fez-se uma investigaÃÃo prÃtica onde as palavras que compÃem o tabuleiro foram desdobradas em seus sinÃnimos e gradaÃÃes, criando outros oito tabuleiros que convidam a exercitar a construÃÃo de afetos no/pelo corpo. Essa dissertaÃÃo pretende discutir os resultados advindos dessa investigaÃÃo a partir de trÃs instÃncias decisivas do Rasaboxes - o espaÃo, as palavras e o corpo. NoÃÃes como o Neutro, a sensaÃÃo e o corpo vibrÃtil dialogam com essa pesquisa para pensar intensivamente o trabalho do ator na contemporaneidade.
Williams, Alice. "The Production of Luck: Learning to Act, in the discipline of Theatre Anthropology". Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/23220.
Testo completo