Gotowe bibliografie tematyczne / Acting

Gotowa bibliografia na temat „Acting”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 30 lipca 2024

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Artykuły w czasopismach na temat "Acting"

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Roberts, Thomas M., i Murray Stewart. "Acting like Actin". Journal of Cell Biology 149, nr 1 (3.04.2000): 7–12. http://dx.doi.org/10.1083/jcb.149.1.7.

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Vinson, V. "Acting Like Actin". Science 330, nr 6009 (2.12.2010): 1289. http://dx.doi.org/10.1126/science.330.6009.1289-b.

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Geitmann, Anja. "Actuators Acting without Actin". Cell 166, nr 1 (czerwiec 2016): 15–17. http://dx.doi.org/10.1016/j.cell.2016.06.030.

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Egea, Gustavo, Carla Serra-Peinado, Laia Salcedo-Sicilia i Enric Gutiérrez-Martínez. "Actin acting at the Golgi". Histochemistry and Cell Biology 140, nr 3 (27.06.2013): 347–60. http://dx.doi.org/10.1007/s00418-013-1115-8.

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Adler, E. M. "Acting with Actin (But Not Akt)". Science Signaling 4, nr 178 (21.06.2011): ec169-ec169. http://dx.doi.org/10.1126/scisignal.4178ec169.

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Ott, Albrecht, D. Riveline, F. Jülicher, D. A. WinkelmannD, O. Cardoso, JJ Lacapère, S. Magnúsdóttir, JL Viovy, L. Gorre-Talini i J. Prost. "Acting on actin: The electric motility assay". Biology of the Cell 91, nr 3 (czerwiec 1999): 252. http://dx.doi.org/10.1016/s0248-4900(99)90096-5.

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Riveline, Daniel, A. Ott, Frank Jülicher, Donald A. Winkelmann, Olivier Cardoso, Jean-Jacques Lacapère, Soffia Magnúsdóttir, J. L. Viovy, Laurence Gorre-Talini i Jacques Prost. "Acting on actin: the electric motility assay". European Biophysics Journal 27, nr 4 (22.06.1998): 403–8. http://dx.doi.org/10.1007/s002490050147.

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Langley, Dorothy. "Acting in Or Acting Out?" Dramatherapy 12, nr 2 (czerwiec 1990): 2–4. http://dx.doi.org/10.1080/02630672.1990.9689336.

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Webb, Patrick, i Christopher Linn. "Acting Right or Acting White". Journal of Black Studies 47, nr 2 (10.12.2015): 134–49. http://dx.doi.org/10.1177/0021934715618397.

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Hamilton, James R. "Acting". Journal of Dramatic Theory and Criticism 28, nr 1 (2013): 35–59. http://dx.doi.org/10.1353/dtc.2013.0020.

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Rozprawy doktorskie na temat "Acting"

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Johnston, Daniel Waycott. "Active Metaphysics: Acting as Manual Philosophy or Phenomenological Interpretations of Acting Theory". University of Sydney, 2008. http://hdl.handle.net/2123/3984.

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Streszczenie:
PhD
This thesis considers actors as ‘manual philosophers’; it engages the proposition that acting can reveal aspects of existence and Being. In this sense, forms of acting that analyse and engage with lived experience of the world offer a phenomenological approach to the problem of Being. But rather than arrive at abstract, general conclusions about the human subject’s relationship to the world, at least some approaches to acting investigate the structures of experience through those experiences themselves in a lived, physical way. I begin with the troubled relationship between philosophy and theatre and briefly consider the history of attacks on actors. I suggest that at the heart of antitheatricality is what Jonas Barish (1981: 3) calls ‘ontological queasiness’: theatre poses a problem in the distinction between ‘what is’ and ‘what is not’. Turning to phenomenology as a particular way of doing philosophy that challenges any dualistic understanding of subjectivity, I reflect on Martin Heidegger’s Being and Time as a lens for viewing the process of performing and preparing for a role. Heidegger emphasises the intermeshed relationship between the human subject, Dasein (Being-there), and the world to the point that it is impossible to consider one without the other. I have chosen three of the most influential theatre and acting theorists of the twentieth century and examine how each uncovers aspects of existence that are presented in Heidegger’s phenomenology. Firstly, I consider Constantin Stanislavski’s ‘system’ which emphasises action for a purpose within an environment, the individual’s relationship to objects in the world and its involvement with other people who share the same type of Being in the world. Secondly, I examine Antonin Artaud’s conception of theatre that seeks to resist the structures of Being, the way the world is interpreted by others (the ‘They’) and the way that the world gets handed over to consciousness for the most part. In many respects, Artaud’s theatre is the embodiment of Anxiety, a world-revealing state where Being becomes apparent. Thirdly, I discuss Bertolt Brecht’s theatre practice as an attestation to authenticity (a truthful engagement with human existence as possibility) through the medium of performance. Brecht seeks to engage audiences in philosophical debate and change the world. Like Heidegger, Brecht also stresses the historical and temporal constitution of the human subject, whilst emphasising practicality in theatre making. By examining these approaches to performance as case studies, this thesis rethinks the notional intersection of philosophy and theatre, concentrating on process rather than literary analysis. This application of phenomenology is new in that it does not merely consider theatre analysis from an ‘ideal’ audience point of view (i.e. provide a phenomenology of theatre). By focusing on acting, I emphasise the development of artistic creation and becoming, and show how certain types of acting are phenomenological. The bold upshot here is a conception of philosophy that acknowledges various theatre practices as embodied forms of philosophical practice. Furthermore, theatre might well be thought of as phenomenological because it can be an investigation of Being firmly entrenched in practical action and performance. Conversely, philosophy is more than just words on a page; it is a performed activity. Actors can be considered manual philosophers in so far as they engage with the problem of Being not in mere abstraction but in the practical challenges of performance.
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Johnston, Daniel Waycott. "Active Metaphysics: Acting as Manual Philosophy or Phenomenological Interpretations of Acting Theory". Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/3984.

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This thesis considers actors as ‘manual philosophers’; it engages the proposition that acting can reveal aspects of existence and Being. In this sense, forms of acting that analyse and engage with lived experience of the world offer a phenomenological approach to the problem of Being. But rather than arrive at abstract, general conclusions about the human subject’s relationship to the world, at least some approaches to acting investigate the structures of experience through those experiences themselves in a lived, physical way. I begin with the troubled relationship between philosophy and theatre and briefly consider the history of attacks on actors. I suggest that at the heart of antitheatricality is what Jonas Barish (1981: 3) calls ‘ontological queasiness’: theatre poses a problem in the distinction between ‘what is’ and ‘what is not’. Turning to phenomenology as a particular way of doing philosophy that challenges any dualistic understanding of subjectivity, I reflect on Martin Heidegger’s Being and Time as a lens for viewing the process of performing and preparing for a role. Heidegger emphasises the intermeshed relationship between the human subject, Dasein (Being-there), and the world to the point that it is impossible to consider one without the other. I have chosen three of the most influential theatre and acting theorists of the twentieth century and examine how each uncovers aspects of existence that are presented in Heidegger’s phenomenology. Firstly, I consider Constantin Stanislavski’s ‘system’ which emphasises action for a purpose within an environment, the individual’s relationship to objects in the world and its involvement with other people who share the same type of Being in the world. Secondly, I examine Antonin Artaud’s conception of theatre that seeks to resist the structures of Being, the way the world is interpreted by others (the ‘They’) and the way that the world gets handed over to consciousness for the most part. In many respects, Artaud’s theatre is the embodiment of Anxiety, a world-revealing state where Being becomes apparent. Thirdly, I discuss Bertolt Brecht’s theatre practice as an attestation to authenticity (a truthful engagement with human existence as possibility) through the medium of performance. Brecht seeks to engage audiences in philosophical debate and change the world. Like Heidegger, Brecht also stresses the historical and temporal constitution of the human subject, whilst emphasising practicality in theatre making. By examining these approaches to performance as case studies, this thesis rethinks the notional intersection of philosophy and theatre, concentrating on process rather than literary analysis. This application of phenomenology is new in that it does not merely consider theatre analysis from an ‘ideal’ audience point of view (i.e. provide a phenomenology of theatre). By focusing on acting, I emphasise the development of artistic creation and becoming, and show how certain types of acting are phenomenological. The bold upshot here is a conception of philosophy that acknowledges various theatre practices as embodied forms of philosophical practice. Furthermore, theatre might well be thought of as phenomenological because it can be an investigation of Being firmly entrenched in practical action and performance. Conversely, philosophy is more than just words on a page; it is a performed activity. Actors can be considered manual philosophers in so far as they engage with the problem of Being not in mere abstraction but in the practical challenges of performance.
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Johnston, Daniel Waycott. "Active metaphysics acting as manual philosophy or phenomenological interpretations of acting theory /". Connect to full text, 2007. http://hdl.handle.net/2123/3984.

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Thesis (Ph. D.)--University of Sydney, 2008.
Title from title screen (viewed January 21, 2009) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Faculty of Arts, Dept. of Performing Studies. Degree awarded 2008; thesis submitted 2007. Includes bibliography. Also available in print format.
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Stokes, Kristoffer H. "Play acting". [Gainesville, Fla.]: University of Florida, 2003. http://purl.fcla.edu/fcla/etd/UFE0000798.

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Souza, Dawn. "Acting Mindfully". VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5340.

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Acting Mindfully, is a form of embodiment pedagogy that investigates the ways in which actors can explore their craft through a lens that connects them closer to their mind, body, and voice. The document draws content from a wide variety of theatrical movement and vocal practitioners in combination with mindfulness techniques including yoga, meditation, and energy work. Embodiment pedagogy allows the acting student to approach and perform scenes and monologues with truth and authenticity; while allowing them the ability to tell their own stories. In order to explore this work, a course, Acting and Mindfulness, was introduced at Virginia Commonwealth University as an experimental way to begin to connect students to their artistic work in a mindful way. This document includes research, as well as a mindful acting curriculum, that make connections to embodiment pedagogy.
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Henney, Pamela Ann. "Acting the Author: Using Acting Techniques in Teaching Academic Writing". University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1342799222.

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Björklund, Niklas. "Acting in animation". Thesis, University of Gävle, Ämnesavdelningen för datavetenskap, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-4698.

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It is important to remember actors and animators are similar in many respects, but also very different in some. They both frame and provide life to a character, through thoughts and feelings. To obtain a better understanding of how professional animators work and what methods they use, this thesis contains general background information on animation and the Principles in Animation, as well as the analysis of acting and the different acting concepts. By studying these methods and utilizing them in my own work, a short animation was developed to visualize a characters personality through his actions. The result was then applied to a questionnaire to determine if the audience could pick out the characters personality only through the animation without dialog, music, or sound. According to the interviewed audience, they could feel some of the characters emotions and pick out some of the inner thoughts and feelings from the animation.

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Raloff, Anke. "Acting in concert". Jena JWV, Jenaer Wiss. Verl.-Ges, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=3010824&prov=M&dok_var=1&dok_ext=htm.

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Granke, Daniel. "Decoding Acting Vocabulary". VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3110.

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This paper compares seemingly similar words from a variety of acting teachers, and shows how it is impossible to draw clear comparisons between words that are often used as synonyms. The paper is a reflection of the journey from believing in translation to recognizing its impossibility. In Chapter 1 we focus on one of the most common elements in actor training, Attention/focus/concentration, and analyze the shades of meaning in those words and the difficulty of talking about them in isolation. In Chapter 2 we look at the way in which semiotic analysis can explain the words resistance to equivalence. In Chapter 3 we look at one of the central terms in most collegiate actor training objective, and see how it reveals both the problems inherent in translation. In Chapter 4 we look at how this knowledge can influence the classroom in a positive way.
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Blomberg, Stathopoulos Alexander C. "Acting and understanding". Thesis, University of St Andrews, 2016. http://hdl.handle.net/10023/8417.

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This thesis concerns the question of what it is for a subject to act. It answers this question in three steps. The first step is taken by arguing that any satisfactory answer must build on the idea that an action is something predicable of the acting subject. The second step is taken by arguing in support of an answer which does build on this idea, and does so by introducing the idea that acting is doing something which is an exercise of a particular kind of disposition on the part of the acting subject. The third step is taken by arguing that the disposition in question must be of a kind which is exercised in conditions in which the acting subject thinks they are acting. From this vantage point the thesis develops many further commitments: That action is constitutively subject to a mode of explanation that mentions the kind of disposition just mentioned; that any case of acting requires a veridical representation of a means by which the action is performed; and that a problem about the underspecified nature of desire ascriptions can be solved by appeal to the conceptual materials made available by these investigations. The thesis finally develops several objections to the account it gives, both substantive and methodological, and explains why these objections ought to be rejected.
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Książki na temat "Acting"

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Daw, Kurt. Acting: Thought into action. Portsmouth, NH: Heinemann, 1997.

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Cohen, Robert. Acting one/acting two. Wyd. 5. Boston: McGraw Hill, 2008.

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Boleslavsky, Richard. Acting. London: Taylor & Francis Group Plc, 2004.

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Harrop, John. Acting. London: Routledge, 1992.

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Boleslavsky, Richard. Acting. London: Taylor & Francis Inc, 2004.

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Harrop, John. Acting. London: Routledge, 1992.

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Greenspon, Jaq. Acting. Lincolnwood, Ill., USA: VGM Career Horizons, 1996.

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Epstein, Sabin R. Basic acting: The modular acting process. Boston: Allyn and Bacon, 1996.

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Turnbull, Stephanie. Acting skills. London: Franklin Watts, 2014.

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Ferris, Lesley. Acting Women. London: Macmillan Education UK, 1990. http://dx.doi.org/10.1007/978-1-349-20506-6.

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Części książek na temat "Acting"

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Merlin, Bella. "‘Expressing Your Creative Individuality’: 21st-Century Practitioners". W Acting, 119–46. Wyd. 3. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003267270-6.

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Merlin, Bella. "‘Systems and Methods’: 20th-Century Innovators". W Acting, 61–88. Wyd. 3. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003267270-4.

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Merlin, Bella. "‘Building a Character’: Rehearsal Processes". W Acting, 89–118. Wyd. 3. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003267270-5.

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Merlin, Bella. "Epilogue". W Acting, 178–79. Wyd. 3. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003267270-8.

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Merlin, Bella. "‘Why Act?’: Some Socio-Cultural Perspectives". W Acting, 4–28. Wyd. 3. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003267270-2.

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Merlin, Bella. "Introduction". W Acting, 1–3. Wyd. 3. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003267270-1.

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Merlin, Bella. "‘And … Action!’: Performance Practices". W Acting, 147–77. Wyd. 3. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003267270-7.

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Merlin, Bella. "‘The Player and the Instrument’: Actor Training". W Acting, 29–60. Wyd. 3. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003267270-3.

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Dukore, Bernard F. "Acting". W Death of a Salesman and The Crucible, 77–91. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-08599-6_17.

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Dukore, Bernard F. "Acting". W Death of a Salesman and The Crucible, 98–104. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-08599-6_20.

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Streszczenia konferencji na temat "Acting"

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Schmieder, Thomas, i Robert J. Wierzbicki. "Competitive acting". W the 13th International MindTrek Conference: Everyday Life in the Ubiquitous Era. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1621841.1621844.

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Kade, Daniel, Rikard Lindell, Hakan Ürey i Oğuzhan Özcan. "Acting 2.0". W ACE 2015: 12th International Conference on Advances in Computer Entertainment Technology. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2832932.2832984.

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Kuutti, Kari, Giulio Iacucci i Carlo Iacucci. "Acting to know". W the fourth conference. New York, New York, USA: ACM Press, 2002. http://dx.doi.org/10.1145/581710.581726.

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Barkhuus, Louise, i Chiara Rossitto. "Acting with Technology". W CHI'16: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2858036.2858344.

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Feng, Andrew, Gale Lucas, Stacy Marsella, Evan Suma, Chung-Cheng Chiu, Dan Casas i Ari Shapiro. "Acting the part". W MIG '14: Motion in Games. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2668064.2668102.

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Finnegan, John C., i Ed Hooks. "Acting for animators". W ACM SIGGRAPH 2005 Courses. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1198555.1198680.

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Slater, M., J. Howell, A. Steed, D.-P. Pertaub i M. Garau. "Acting in virtual reality". W the third international conference. New York, New York, USA: ACM Press, 2000. http://dx.doi.org/10.1145/351006.351020.

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Knight, Heather, i Matthew Gray. "Acting lesson with robot". W the seventh annual ACM/IEEE international conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2157689.2157821.

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Kragic, Danica. "Acting, Interacting, Collaborative Robots". W HRI '17: ACM/IEEE International Conference on Human-Robot Interaction. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/2909824.3020260.

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Cameron, Gordon, Robert Russ i Adam Woodbury. "Acting with contact inRatatouille". W ACM SIGGRAPH 2007 sketches. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1278780.1278858.

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Raporty organizacyjne na temat "Acting"

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Ruebeck, Christopher, Susan Averett i Howard Bodenhorn. Acting White or Acting Black: Mixed-Race Adolescents' Identity and Behavior. Cambridge, MA: National Bureau of Economic Research, luty 2008. http://dx.doi.org/10.3386/w13793.

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Austen-Smith, David, i Roland Fryer. The Economics of 'Acting White'. Cambridge, MA: National Bureau of Economic Research, sierpień 2003. http://dx.doi.org/10.3386/w9904.

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Fryer, Roland, i Paul Torelli. An Empirical Analysis of 'Acting White'. Cambridge, MA: National Bureau of Economic Research, maj 2005. http://dx.doi.org/10.3386/w11334.

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Li, Pui-Kai. Development for Dual Acting Inhibitors for Breast Cancer. Fort Belvoir, VA: Defense Technical Information Center, sierpień 2001. http://dx.doi.org/10.21236/ada398105.

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Li, Pui-Kai. Development of Dual Acting Inhibitors for Breast Cancer. Fort Belvoir, VA: Defense Technical Information Center, sierpień 2002. http://dx.doi.org/10.21236/ada410197.

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Li, Pui-Kai. Development of Dual Acting Inhibitors for Breast Cancer. Fort Belvoir, VA: Defense Technical Information Center, listopad 2004. http://dx.doi.org/10.21236/ada432232.

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Li, Pui K. Development of Dual Acting Inhibitors for Breast Cancer. Fort Belvoir, VA: Defense Technical Information Center, sierpień 2003. http://dx.doi.org/10.21236/ada421903.

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Bursztyn, Leonardo, Thomas Fujiwara i Amanda Pallais. 'Acting Wife': Marriage Market Incentives and Labor Market Investments. Cambridge, MA: National Bureau of Economic Research, styczeń 2017. http://dx.doi.org/10.3386/w23043.

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Carreras, B. A. Transport mechanisms acting in toroidal devices: A theoretician's view. Office of Scientific and Technical Information (OSTI), styczeń 1993. http://dx.doi.org/10.2172/6567426.

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Carreras, B. A. Transport mechanisms acting in toroidal devices: A theoretician`s view. Office of Scientific and Technical Information (OSTI), styczeń 1993. http://dx.doi.org/10.2172/10155465.

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