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Artykuły w czasopismach na temat "Improvisation (acting)"
1
Yucha, C. B. "Understanding physiology by acting out concepts." Advances in Physiology Education 269, nr 6 (grudzień 1995): S50. http://dx.doi.org/10.1152/advances.1995.269.6.s50.
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Typically, classes in anatomy and physiology are taught via lecture and visual aids. This seems to work well for students who are primarily auditory and visual learners but not for those who learn better through kinesthetic experiences. This is the first report describing the use of improvisation to act out physiological concepts within an anatomy and physiology course. Improvisational techniques encourage active participation and allow students to personally interact with and experience difficult concepts in the classroom. In this paper, sensory modality preferences for learning will be discussed briefly. Improvisational techniques will be described, and examples of improvisations useful to convey intricate physiological concepts will be provided. Last, student responses to the use of improvisational techniques in an anatomy and physiology course will be reported.
2
Irianto, Ikhsan Satria, Indra Gunawan, Lusi Handayani i Tofan Gustyawan. "Abdul Muluk Improvisation Techniques in the Warung Kajang Lako Program on TVRI Jambi". Mudra Jurnal Seni Budaya 39, nr 2 (29.04.2024): 144–57. http://dx.doi.org/10.31091/mudra.v39i2.2632.
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One of the characteristics of traditional Indonesian theater, including Abdul Muluk Jambi, is that the performances rely on the improvisational abilities of the actors. Therefore, improvisation techniques are an essential element in traditional Indonesian theater acting, especially the Abdul Muluk Jambi theater. One of the theater groups that is intense in developing improvisation techniques based on Abdul Muluk's improvisations is Sanggar Pancarona Jambi. This research was conducted to find patterns of improvisational acting techniques in the Abdul Muluk performance by Sanggar Pancarona Jambi. The material object of this research is the performance of Abdul Muluk by Sanggar Pancarona which was broadcast on TVRI Jambi in the Warung Kajang Lako program. This event featured Abdul Muluk's appearance with a shortened duration. The selection of this object was based on the characteristics of the Abdul Muluk performance by Sanggar Pancarona which prioritizes the power of actor improvisation. To find patterns in Abdul Muluk's improvisation techniques, the research method used was a qualitative method with stages, observation, interviews and data analysis. The results achieved from this research are that Sanggar Pancarona Jambi uses improvisation techniques adopted from the Abdul Muluk Jambi theater. Abdul Muluk's improvisation technique which was applied at the Warung Kajang Lako TVRI Jambi event consisted of: Improvisation Rules, Building Agreement, Creating and Saying Topics, Creating Collective Imagination, Division of Tasks, Setting Timings, Starting from Introductions and Interacting with the Audience. The supporting element for Abdul Muluk's improvisation is music that is improvised in response to the actor's improvisation.
3
Kozodaev, Pavel I., i Ekaterina K. Titova. "Pedagogical factors of formation of improvisational acting skills in amateur theatre". Psychological-Pedagogical Journal GAUDEAMUS, nr 47 (2021): 21–30. http://dx.doi.org/10.20310/1810-231x-2021-20-1(47)-21-30.
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We consider some issues of modern society related to the growing trend of social and emotional isolation of the individual, changes in their worldview, leading to the degradation of thinking and intellectual abilities. There is need to search for psychological and pedagogical ways, means and methods to activate the intellectual, emotional and creative development of the individual. A possible way to solve the identified social issues is the possibility of forming a person's skills for improvisation. We consider the implementation of this process in educational and creative activities of an amateur theater group as a sphere that provides ample opportunities for creative self-realization of the individual. We define the term “improvisation” as a universal ability of the individual, which is manifested in various creative processes, as well as in many other aspects of human life. An actor forms improvisational skills in an amateur theater group due to the organization and implementation of a number of pedagogical conditions, such as: creating a climate of psychological comfort that promotes the self-disclosure of individual and creative abilities of participants in an amateur theater group; using the etude method in the process of mastering the elements of acting improvisation by an amateur actor; mastering the basics of “effective thinking” through specific training exercises. The content component of the implementation of these pedagogical conditions, according to the authors, activates the course of the described process.
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Vilc, Sonja. "Acting together: The art of collective improvisation in theatre and politics". Filozofija i drustvo 28, nr 1 (2017): 32–40. http://dx.doi.org/10.2298/fid1701032v.
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The paper analyzes the concept of collective improvisation and draws out its potentials for social and political theory. Translating the ideas of collective improvisation from their original context in the theatre into the field of political thought, I argue that they offer a new understanding of political action by reevaluating the concepts of dissensus (Ranci?re) and community (Nancy), as well as the ways in which politics as a system needs to produce collectively binding decisions (Luhmann). I conclude that the ideas inherent in the practice of collective improvisation, as it has been developed within the tradition of modern theatre improvisation, subvert our intuitive ways of thinking about politics and thereby offer an alternative model of being and acting together.
5
Rudland, Oliver. "Co-creating a Brass Band Dance Number for a Large-scale Community Opera Project with the Aid of Improvisatory Techniques: Co-creativity within an Operatic Context". Context, nr 48 (31.01.2023): 69–81. http://dx.doi.org/10.46580/cx34966.
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Community opera projects have often integrated bands of varying types to involve participants in ways other than singing and acting. Although many community opera projects incorporate co-creative elements and improvisation techniques in their composition, there is little coverage of how bands, in practice, can be involved as participants in the co-creative process of shaping a new community opera. This paper documents a practice research project that took place with Waterbeach Brass Band based in Cambridgeshire, UK. It records in detail the process whereby aspects of a brass band dance number were devised during co-creative improvisation workshops, and provides both audio-visual recordings and notated examples that capture the emergent creative process, alongside a commentary explaining the processes and methodological approaches employed. The paper discusses the different ways in which members of the brass band responded to improvisational workshops, and how this fed into the co-creative process. It subsequently examines how such co-creative elements can form part of a larger musical-dramatic presentation, demonstrating how they can be developed during an extended operatic scene.
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Kovalenko, Yu B. "Composition and improvisation in the aspect of the music infl uence on the expressive structure of the fi lm". Aspects of Historical Musicology 15, nr 15 (15.09.2019): 60–79. http://dx.doi.org/10.34064/khnum2-15.03.
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Background. In recent years, there has been an increasing interest in interdisciplinary research of arts due to the fact that human consciousness has a unity of principles and approaches in the perception of the surrounding world. In this regard, synthetic arts are of particular interest because they form their creative potential by the expressive means of their art forms. And cinema is one of those open to interaction with the audiovisual means of its other components. There are a lot of studies on fi lm music that contain the analysis of functional and structural features, as well as a point of expressive means interaction, although the last one is not systematized and generalized. Objectives. The study is aimed at identifying the features of the interaction between music and cinema. Particularly, the infl uence of compositional and improvisational processes of music on the expressive structure of the fi lm and the specifi cs of fi lm making are considered. The movies using mostly jazz music were selected to study for a more effective and balanced comparison of the effects of compositional and improvisational principles in their dialectical coexistence. Methods. The desire to explore the phenomenon in its entirety led to an integrated approach which has helped to project the expressive system of music on fi lm work. Both systemic and structural-functional methods are involved in order to determine the specifi cs. The comparative method of analysis is used to generalize the connections of music thinking with audiovisual conception. And the interpretative approach helps to synthesize the results of survey. Scientifi c novelty consists in the attempt to outline the essential connection between music and audiovisual creativity which lies in the time nature of both arts and the tendency to non-verbal expressiveness. Results. The results of the research support the idea that composition and improvisation as two principles of creating a musical work are equally inherent in fi lm making. The fi rst of them provides for the stability and completeness of the structure, while the second one is associated with an instantaneous sensual response to the creation of the work in front of the viewer. Thereby, improvisation actualizes the process of creating a work of art as a way of artists’ communication with one another and with the public. It should be noted that there is a difference between the concept of improvisation as a process and the improvisational principle as a property. The last of them is found in the music of any tradition and is refl ected in the content and form of the work. The main features of the improvisational principle are relaxedness and freedom of expression, a feeling of continuity of movement and unexpectedness of further actions. Similarly, the compositional principle can be distinguished. It is based on repeats and returns of stable elements at a distance. The interaction of compositional and improvisational principles can be traced in the complex of expressive means of the fi lm at the level of dramatic development and plot structure, features of the dynamic movement and screen plastic, light-shadow score, fi - gurative content. When it comes to a musical or biopic fi lm, the diegetic music becomes a stabilizing element of the composition, and the constant returning to the situation of musical performance creates a cyclical effect. At the same time, sensual contemplation, live instant response to the observation of the creation provides a fi eld for acting improvisation within the regulated scenario. Analysis of the movie “Round Midnight” (Bertrand Tavernier, 1986) confi rms these assumptions and the hero’s jazz improvisation replaces his monologues, acting as the main fi gurative characteristic. Films in the genre Noir are marked by the use of jazz improvisation on the non-diegetic structure level. The functional uncertainty of sections, the fl ow of linear and nonlinear narratives, and unexpected change in the rhythm are observed in such fi lms. However, the return of wandering, searching, doubting, walking, coversational situations provide a manifestation of the compositional principle. These observations are made on the example of the movie “Lift to the Scaffold” (Luis Malle, 1958), and the most profound form of interaction between jazz improvisation and cinematic expressiveness – the so-called “jazz cinema”, based on the interpretation of jazz through the prism of fi lm expressive means. “Shadows” (John Cassavetes, 1959) happened to be the fi rst specimen of such kind of fi lms. But the most complex form of interaction between compositional and improvisational elements of music and fi lms are large-scale drama fi lms with numerous storylines and a large number of characters. This is considered on the example of the “Regtime” (Miloš Forman, 1981), where the musical genre determines the plot development, certain events and situations and musical score. In other words, music affects the expressive structure of the fi lm on three levels: genre-stylistic, compositional-dramatic, artistic-linguistic. Conclusions. In the process of the research it has been found out that common time nature in music and cinema allows them to be in close cooperation. The analysis of improvisational and compositional elements in fi lms indicates their certain connections with the musical form. Stabilization at the level of the plot is achieved through the return of certain dramatic situations, cycle of musical compositions as a diegetic element of the fi lm and fi nally, musical accompaniment of certain situations. Instead, improvisation is refl ected in the unexpected events, the looseness of the dialogue and the violation of linear development. All of these dramatic situations are marked by sensual contemplation and alive, instant response to changes in events. One of the main features that unite fi lm structure and jazzy music is the dialogical character of narration. This property makes improvisation a method of presentation and composition building.
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Keller, Betty, i David E. Kemp. "Improvisation in Creative Drama". Canadian Theatre Review 59 (czerwiec 1989): 88. http://dx.doi.org/10.3138/ctr.59.019.
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According to the press release for Improvisation in Creative Drama the 23 new workshops and 14 sketches which make up this volume are intended to “aide [sic] the beginning acting student (high school and college level) in exploring the imagination and emotions.” Apart from the eccentric spelling certain other clarifications need to be made. The 23 new “workshops” are actually simple exercises with which most high school students in Dramatic Arts classes in Ontario will already be familiar. Of the nine examples in Chapter 1, six can be found in at least two different ideas books for drama, one of which was published in 1972. Apart from a couple of exercises involving the stimulus of visual art nothing in the first part of the book – Creative Drama Workshops – would not be immediately familiar. Admittedly the exercises are structured in such a way as to develop individual ideas in some kind of depth, but there is little sense of any significant and meaningful linear development. The exercises do not lead into more formal aspects of drama, nor do they provide a spring-board into more dramatically significant work. The idea of improvising situations with no audience, first individually and then in groups, is a good one. But the 23 exercises included would certainly not last a year as Ms Keller suggests in her Author’s note. Even if one included the 15 “Dramatic Sketches” which make up part II, this work would occupy a class for no more than half a semester.
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Arkadin-Shkolnik, Oleksandr. "Improvisational self-feeling in the upbringing of actor’s and stage directing mastery". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, nr 50 (3.10.2018): 121–35. http://dx.doi.org/10.34064/khnum1-50.09.
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Formulation of the problem. Relevance of the theme, the aim and material of research. The article deals with the related concepts of improvisation and improvisational self-feeling, state of health that is a special internal state that allows the actor to fully demonstrate his talent, to get rid of stamps, physical and psychological clamps and mechanistic “playing on cothurni”. The theme of improvisation in artistic creativity in general and in stage art in particular, undoubtedly, can be attributed to the circle of “eternal” ones, which over the time not lose their relevance and can acquire new sounding and coloring. Since improvisation is the basis and an integral part of a theater and scenic playing. This clearly demonstrates, for example, the existence from the very origins of the stage art of its separate branch – the theater of improvisation – which has experienced a number of transformations from the Antiquity to our time, ups (such as the Renaissance comedy dell arte) and downs, and reviving today in the new experimental forms. Or the modern flourishing of the “directorial” theater, where improvisation often becomes a full-fledged component of stage action. Anyway, in the works of almost all theatrical geniuses of the world, the greatest experimenters and reformers of the scene we can see the idea of finding the perfect actor, free, independent-minded, an ideal “actor-creator”. In the field of our attention – the theoretical works of theatrical luminaries of the twentieth century, the time of the formation of a free theater – K. Stanislavsky, B. Brecht, E. Vakhtangov and others. Based on this heritage, modern masters of the scene find their own motives and develop them in their work and pedagogy. The study aims to summarize the main methods of developing improvisational skills and conditions for achieving the state of improvisational well-being in the practice of an actor and stage director. Results of the study. In the domestic theater of the new generation, the improvisational method was actively developed and promoted by K. S. Stanislavsky and his follower E. B. Vakhtangov. They relied on the principles and mechanisms operating in the Italian comedy dell’arte; however, the transfer to the new ground and reality has fundamentally changed the principles of improvisation, which resulted in the unique phenomenon – the synthesis of the psychological theater with improvisational one. Rejecting the outdated kind of improvisation, Stanislavsky brought up this method to technical perfection in tandem with the inner spiritual fullness of the actor. Stanislavsky’s new interpretation of this idea was based on the fact that a person (and, therefore, the actor on the stage) cannot repeat any actions twice exactly the same. Thus, if an actor performs his actions on the stage absolutely truthfully, then each rehearsal and performance will be held in free improvisation or, as they say, in “improvisational well-being”. E. Vakhtangov, the successor of the great master, considered the same. The best proof of his ideas judgments is the play “Princess Turandot”, which from the beginning to the end was created in the form of an improvisational theatrical performance. For successful improvisation work it is necessary the actor need to not expect what is happening. For example, actor’s etudes educate the unexpected reaction of the actor in the perception of the current event, which inevitably leads to the transparency and truthfulness of the role picture. The methodological application of B. Brecht’s formula, entitled “not A”, is directed at this: the actor, showing what he does, in all-important places should make the viewer understand, what he does not. He plays so that we could see the alternative as clearly as possible, hinting on the other plot possibilities when the piece gives only one of the possible options. For the successful upbringing of the “ideal” type of actor mentioned above, it is first and foremost important to apply game, training methods of development not only to the physical form, but also to the imagination, the flexibility of the mind and the wit of an actor. Therefore, only an integrated approach in teaching methods and the rehearsal process is able to develop the creative potential of an actor and direct it to the necessary course. It was this approach that was used during this study in practice, which resulted in the birth of such a methodological technique as “blind rehearsals”. Before the rehearsals of the performance were started, a long preparatory period was held on the Stanislavsky system, and after a deep “intelligence research” and mastering the text, the actors began to work, being “blind» absolutely. For almost a month, the actors worked at the rehearsals with a blindfold, which sharpened their perception of the text, the scene and the partner. Left alone in the dark with the material, the actors showed a brilliant result in studying of it. Conclusions. The ability to improvise or “improvisational abilities” should be attributed to the general abilities of the person, which complement the special creative abilities, are subject to improvement and are mandatory for the development of future actor and director. Making use of the innovation in the psychology of creativity, actors-masters permanently update a system of exercises, always bringing in these game images and associations. This helps to avoid of mechanistic and artificial methods. In addition, it is necessary to introduce a set of plastic musical exercises that are the beginning of a lesson for students and develop in such important forms of theater education as a musical-plastic sketches, fragments, and so on. Thus, an integrated approach to work on improvisation-being of students prepares them for the next step in the mastery of acting and future work in the theater. The developed sense of improvisation, in our opinion, is the basis upon which all other features of actor’s personality will put on. That is why we consider the most difficult task of theater pedagogy to see, discover and apply the student’s creative abilities. Modern theatrical practice implies that the actor is free within the overall outline of the role that the director offers him. Modern stage direction encourages actors to mobility, a variety of creative solutions, independent thinking – that is, to improvise. It is that opens wide research prospects within the chosen theme.
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Keogh, Kathleen, i Liz Sonenberg. "Designing Multi-Agent System Organisations for Flexible Runtime Behaviour". Applied Sciences 10, nr 15 (2.08.2020): 5335. http://dx.doi.org/10.3390/app10155335.
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We address the challenge of multi-agent system (MAS) design for organisations of agents acting in dynamic and uncertain environments where runtime flexibility is required to enable improvisation through sharing knowledge and adapting behaviour. We identify behavioural features that correspond to runtime improvisation by agents in a MAS organisation and from this analysis describe the OJAzzIC meta-model and an associated design method. We present results from simulation scenarios, varying both problem complexity and the level of organisational support provided in the design, to show that increasing design time guidance in the organisation specification can enable runtime flexibility afforded to agents and improve performance. Hence the results demonstrate the usefulness of the constructs captured in the OJAzzIC meta-model.
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Hagendoorn, Ivar. "Cognitive Dance Improvisation: How Study of the Motor System Can Inspire Dance (and Vice Versa)". Leonardo 36, nr 3 (czerwiec 2003): 221–28. http://dx.doi.org/10.1162/002409403321921442.
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This paper describes several dance improvisation techniques inspired by the study of the motor system. One technique takes experiments on interlimb coordination from the laboratory to the dance studio. Another technique, termed fixed-point technique, makes use of the fact that one can change which part of the body is fixed in space. A third technique is based on the idea that one can maintain the action, as it were, by “reversing the acting limb.” All techniques target a specific capacity of the motor system and as such may inspire new psychophysical experiments. The present approach to generating movements, which merges dance improvisation with insights from cognitive neuroscience and biokinesiology, may also be fruitfully extended to robotics.
Rozprawy doktorskie na temat "Improvisation (acting)"
1
Frey, Connie Jean. "Improvisation, ? motions for living texts". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ32709.pdf.
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Calburn, Caroline. "A critical documentation of Mavis Taylor's teaching of improvisation". Master's thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/13849.
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Bibliography: leaves 186-191.This study documents Mavis Taylor's teaching of Improvisation at the University of Cape Town and provides a critical analysis of the improvisational methods she uses in the training of actors. It places her teaching within the wider field of improvisation understanding the importance of knowledge of 'self for the craft of acting. There is discussion around the role of the imagination and spontaneity in actor-training, and debate is raised regarding the concepts and practice of sensory and emotional memory training. The significance of teaching structure and form as a method for students to manipulate the medium of improvisation is argued, proposing that the creation of alternative meanings and 'realities' is the essence of acting.
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Skordis, Ranza (Ranza Nora-J). "Improvisation and playmaking : a look at some improvisation techniques and their applications during the directing process". Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53461.
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Thesis (MDram)--Stellenbosch University, 2003.ENGLISH ABSTRACT: In this thesis the author investigates aspects of the use of improvisation and improvisational methods, techniques and exercises by modem practitioners. The study commences with a look at the beginnings of modem improvisation in the nineteenth century, when improvisation was used only tentatively by performers as a preproduction aid to the exploration of character and personal response. In more recent times the process has become one of collaboration and research; as a means of selfdiscovery, as a means of text creation and as a vehicle for finding a 'voice' for the silent majority within a particular community or society. This study also traces the use of improvisation in South Africa where the improvisational process has been incorporated into democratic and collaborative forms like workshop theatre and workers' theatre, and serves as a useful method of political investigation and conscientisation. The study will also briefly touch what on is now termed 'theatre-fordevelopment', since its practitioners make extensive use of improvisational techniques, and its techniques are allied to those of workers' and workshop theatre. The final chapter provides an application of the theories discussed in the bulk of the study in a brief discussion of the author's own attempts at utilising improvisation as a directing and scriptwriting tool in a student production.
AFRIKAANSE OPSOMMING: In hierdie tesis ondersoek die outeur die gebruik van improvisasie en die verskillende metodes, tegnieke en praktiese toepassings daarvan deur moderne praktisyns. Die tesis begin deur te kyk na die oorsprong van moderne improvisasie in die 1ge eeu toe imporvisasie slegs tentatief deur akteurs gebruik is om vóór die produksiefase as 'n hulpmiddel te dien om 'n karakter en persoonlike reaksies te ondersoek. Die proses het onlangs tot een van samewerking en navorsing verander; as 'n methode tot selfontdekking, 'n hulpmiddel by teks-skepping en as 'n medium om 'n "stem te vind" vir die 'stille meerderheid' binne 'n gegewe gemeenskap of samelewing. Hierdie studie ondersoek ook die gebruik van improvisasie in Suid Afrika waar die improvisasieproses in demokratiese en spanwerk vorme soos bv. werkswinkelteater en werkersteater geïnkorporeer is, waar hulle as uiters nuttige vorme van politieke ondersoek en -bewusmaking dien. Die studie raak ook vlugtig aan 'teater-virontwikkeling', aangesien die praktisyns daarvan grootliks gebruik maak van improvisasie-tegnieke en die tegnieke wat hulle gebruik redelike ooreenstem met dié van werkswinkelteater en werkersteater. Die finale hoofstuk verskaf 'n toepassing van die verskeie teorieë wat in die hoofgedeelte van die tesis bespreek word, in 'n kort bespreking van die outeur se eie pogings om improvisasie as 'n regie- en teksskeppingsinstrument in 'n studenteproduksie, te gebruik.
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Fortier, Brad. "Long Form Improvisation - Creating Spontaneous Communities Through Collaborative Comedic Performance". PDXScholar, 2008. https://pdxscholar.library.pdx.edu/open_access_etds/32.
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Improvisational theater can tell us much about the driving social and cultural forces behind collaboration and collective constructions of reality, as well as the sorts of behaviors and practices that bolster their efficacy. The collaboration of the performers on generating a comedic piece of theater spontaneously from audience suggestions in a long improvisation creates a sense of what Victor Turner called communitas for the performers. That phenomenon can create a larger sense of socio-emotional unity between the audience and performers. Turning an anthropological lens on comedy theater, this presentation explores the performer-audience dynamic and its impact on the success of an improvised comedic performance. Research was conducted through an ethnography of improvisational acting troupes and their audiences in Rochester, New York, and presents a series of unique situated references that help delineate a social bond between the audience and performers, or a "micro" version of what Gary Allan Fine and Michaela DeSoucey term a "joking culture."
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Garrett, Yanis. "Offer, Accept, Block, Yield: the poetics of open scene additive improvisation". Faculty of Education and Social Work, 2006. http://hdl.handle.net/2123/1901.
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Master of PhilosophyThis single case study examines the way that Johnstone’s (1981) Impro ‘Poetics’ are being used in the contemporary practice of Open Scene Additive Improvisation (OSAI). Johnstone’s Poetics have become a ubiquitous part of contemporary drama improvisation parlance, yet they have never themselves been the subject of any academic examination. This study attempts to fill that void by looking at their use in Open Scene Impro, the purest form of theatre improvisation (since OSAI relies on no structures other than the audience suggestion around which to improvise a ‘Scene’.) To do this, the research analysed seven OSAI Scenes performed by 3 undergraduate student improvisers at the University of Sydney in July 2003, and looked at the ways in which the actions that Johnstone’s Poetics describe are actually being used. Looking closely at Scene segments, the study identifies a number of features: the ways that Offers are used to initiate, re-initiate, confirm or redirect meaning across five identified fields; the ways that Accepts temper these meanings; the productive use of Blocking in a Scene; and many other functions. It was also found that in-Scene negotiations about definition of situation became a subtextually enmeshed part of the Scene’s meaning (often in Phases of improvisers’ conflicting Endowments), while the predictive and framing control of narrative-indexing Offers ensured that character roles became defined early on in all Scenes. Overall, the study’s analysis dissects each of the Poetics to show that improvisers use them for a number of major purposes crucial for the reality, forward-movement and coherence of a Scene to obtain. The study concludes by elucidating how the nine main Poetics (Offer, Endow, Justify, Advance, Extend, Reincorporate, Accept, Block and Yield) serve these purposes. These purposes are then abstracted into the TOE Model, which in turn forms the basis of a proposed dynamic and holistic model for understanding OSAI at each moment of its (re-)creation. The ultimate aim, beyond the reach of the present study, is to be able to understand an Open Scene’s every moment, and each moment’s reference historically backwards, and, to some degree, predictively forwards in time. To this end, the fundamental dynamic of contextualised giving and receiving in OSAI is morphed into a Taoist energetic model, a “Tao of Impro”, along with the notion, derived from Mandelbrot, of ‘cybernetic semantic iteration’, by which information seems to get processed in Open Scenes. The educational implications of these models are then sketched, and future directions for research in OSAI pointed to.
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Henry, Meghann Elise. "Devising dramaturgy an investigation into the art of dramatic composition when devising theatre for young audiences /". Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002157.
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Maples, Carol J. "Giving voice the use of interactive theatre as professional development in higher education to reduce alienation of marginalized groups /". Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5506.
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Thesis (Ed. D.)--University of Missouri-Columbia, 2008.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on June 9, 2009) Vita. Includes bibliographical references.
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Foley, Damian T. "Fleshing out the fictive soul: A screen actor’s personalisation of characterisation through collaborative subtextual improvisation". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2600.
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This practice-led research formulates a method for collaborative characterisation by merging the filmmaker/director’s approach and the screen actor’s technique. This method provides access to a deeper emotional ‘inner world’ submerged within the imagined subconscious of the fictive character. This exploration into varying improvisational filmmaker/director’s practices aimed to identify the most effective methods of supporting the screen actor’s access to emotional subtext by submergence and living through the fictive character’s subjective experience. The outcome is a flexible directorial approach focused on collaborative characterisation method/s to be employed during the filming process while remaining within the scripted context.
The research was inspired by luminary improvisational and collaborative filmmakers, including John Cassavetes and Mike Leigh, and further contextualised by contemporaries such as Derek Cianfrance, Milos Forman, Darren Aronofsky and Lynn Shelton. This thesis draws parallels between the theoretical underpinnings of their approaches and the pedagogical frameworks of acting technique authors, teachers and coaches, including Judith Weston, Sandford Meisner, William Esper and Robert Carnegie.
Apart from literature and practice reviews, this research involved three practice-led phases: shadowing improvisational filmmaking practice alongside studio exploration, semi-structured interviews (with the student actors), and journaling. Investigation into Leigh’s process was extended by direct observation and participation in the creative practices of directors Chris Edmund and Robert Marchand. The initial inquiry into Leigh’s process investigated whether any improvisational techniques could be extended to evoke an unexpected moment-to-moment awareness in an actor’s performance during the actual filming.
This led to the second phase of questioning to determine which techniques practiced by Leigh could be reformulated and extended to those of filmmakers such as Cassavetes, Cianfrance and Shelton. In addition, Judith Weston’s active engagement in improvisational rehearsal techniques led me to participate in her directors’ workshop at Judith Weston Studio in Los Angeles, California.
The findings from the first two phases resulted in a third, unexpected question, suggesting this directing approach be reframed and contextualised by the acting technique pedagogies of Weston and Meisner. Consequently, the final significance of my research findings occurred while auditing a Meisner acting class taught by founding director Carnegie at the Playhouse West, North Hollywood, California. This research offers an alternative model for collaborative directors, which is based on Meisner’s acting technique and newly aligned with the directing practices of Cassavetes and Shelton. My conclusive outcome involved reformulating screen acting techniques based on Meisner’s departure from Konstantin Stanislavski. Subsequently, this reformulation clarified and revealed my own pedagogical schism with Leigh’s and Weston’s approaches.
The goal remained to find an acting technique that would cohesively merge with a directing approach that allowed the actor to retain immediacy and spontaneity while staying emotionally congruent with the character’s imaginative backstory and yet working moment-to-moment with their still emerging ‘life script’. The significance of this research is its formulation of a collaborative language and working method for actors, directors and filmmakers focused on evoking an authentic voice for the fictive character as if they possessed a consciousness of their own volition while living through the actor.
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Charton, Hervé. "L'improvisation théâtrale "libre" : genèse, histoire et pratique d'un concept rare. Du Théâtre-Création (Lausanne, 1968-1975) à aujourd'hui. Étude appuyée par un laboratoire de recherche-action". Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030158.
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Nous souhaitons penser l’improvisation théâtrale « libre » dans une continuité de nature avec le théâtre à deux temps. L’improvisation théâtrale s’est en effet déterminée au cours des quarante dernières années comme un champ à part, avec son histoire et ses règles propres. En nous consacrant à l’improvisation « libre », nous considérons une improvisation qui ne fait pas intervenir a priori de structure d’ensemble, de règles formelles ou stylistiques, qui laisse aux improvisateurs la responsabilité de les déterminer eux-mêmes. Si ce type d’improvisation est courant en musique ou en danse, il reste rare ou ponctuel au théâtre. C’est à travers la notion d’acteur-créateur, telle que l’ont définie Alain Knapp et le Théâtre-Création, que nous la retrouvons. Ce groupe (Lausanne, 1968–1975) a été l’un des premiers en Europe à produire des spectacles improvisés sur des thèmes proposés parle public. Alain Knapp, en héritier de Brecht, nous aide à penser un acteur-créateur qui se distingue de l’improvisateur contemporain par son autonomie créatrice, et par l’attention qu’il porte à l’inscription de ses actes artistiques dans un contexte et une histoire. Revenant à aujourd’hui, nous réinvestissons cette notion d’acteur-créateur à travers celle de performativité. Un ensemble d’expériences et un laboratoire de recherche-action centré sur les perspectives (viewpoints) nous permettent de développer une conception pratique de l’improvisation comme étude d’un contexte par un répertoire. Enfin, ayant explicité quelle liberté est à l’oeuvre dans l’improvisation « libre »et comment la reconnaître, nous décrivons le continuum qui relie cette dernière à la représentation verrouilléeWe want to think of free-improvisation in theater in a continuity with traditional theatre. Theatrical improvisation has indeed grown over the last forty years as a separate field, with its ownrules and history. By dedicating ourselves to free-improvisation, we concentrate on an improvisation that does not involve a preconceived overall structure, or formal or stylistic rules, which leaves improvisers with the responsibility to decide them on the spot. Whereas common in music and dance, free-improvisation is rare or occasional in theatre. It is approached through the notion of actor-creator, as it was defined by Alain Knapp and the Théâtre-Création. This group (Lausanne,1968-1975 ) was one of the first in Europe to perform improvised plays on themes proposed by the audience. Drawing a lot from Brecht, Alain Knapp’s actor-creator has a creative autonomy and pay great detail to the way his artistic acts are inscribed in a given background and history.This distinguishes him from contemporary improvisers. Back to the present, we renew the notion of actor-creator through performativity. A set of experiments and a laboratory focused on Mary Overlie’s Viewpoints allow us to develop a practical approach to improvisation as a study of a context through a repertoire. Finally, having explained which idea of liberty is at work in free-improvisationand how to recognize it, we describe a continuum that connects it to set performances
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Yamamoto, Ruth H. "Serious Fun: The Perceived Influences of Improvisational Acting on Community College Students". ScholarWorks, 2015. https://scholarworks.waldenu.edu/dissertations/1453.
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Research in extracurricular activities and arts education demonstrate how experiences in those areas contribute to the well-being and ongoing development of students in higher education. Although practiced and performed across the United States, theatrical improvisation, as an art form or extracurricular activity, lacks investigation within the context of higher education. Without an understanding from the student perspective, higher educational stakeholders miss an opportunity to incorporate experiences that address the institutions' mission and learning goals or worse, inadvertently produce student disenfranchisement. The purpose of this phenomenological study was to explore and describe the experience of improvisational acting training, practice, and performance of 7 college students who participated in an improvisation group. Huizinga and Caillois's theories of play and Csikszentmihalyi's theory of flow served as the conceptual framework for the study. Data collection occurred at a community college in the mid-Atlantic region through 2 interviews with each participant and 1 focus group until reaching saturation of data. Data were analyzed through iterative coding of significant statements through which themes emerged. Themes included attraction to the activity, practice of the craft, applications of skills to life, and a continuance of improvisation in the participants' lives and at college. The findings lend credibility to other research supporting arts and extracurricular activities and provide educational stakeholders with insights from students on what they value in their educational experience. Positive social change can come from providing students with an education that includes fun, creativity, and socialization for a successful future.
Książki na temat "Improvisation (acting)"
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Frost, Anthony. Improvisation in drama. New York: St. Martin's Press, 1990.
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Frost, Anthony. Improvisation in drama. Basingstoke, Hampshire: Macmillan, 1990.
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Henderson, Cynthia. The actor's landscape: A little book of exercises and other explorations for the actor's work. Wyd. 2. Nevada City, Calif: Gateways Books & Tapes, 2009.
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Paul, Clemens, red. The actor's book of improvisation. New York, N.Y., U.S.A: Penguin Books, 1991.
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Napier, Mick. Behind the scenes: Improvising long form. Englewood, CO: Meriwether Publishing, 2015.
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Johnstone, Keith. Impro: Improvisation and the theatre. London: Methuen, 1989.
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Schotz, Amiel. Theatre games and beyond: A creative approach for performers. Colorado Springs, Colo: Meriwether Pub., 1998.
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Rebecca, Stockley, i Belt Lynda, red. Acting through improv: Improv through theatresports : a curriculum to improve acting skills. Seattle, Wash: Thespis Productions, 1995.
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Tarlington, Carole. Building plays: Simple playbuilding techniques at work. Portsmouth, NH: Heinemann, 1995.
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1962-, Bartula Malgorzata, i Schroer Stefan 1970-, red. On improvisation: Nine conversations with Roberto Ciulli. Bruxelles: P.I.E-Peter Lang, 2003.
Znajdź pełny tekst źródłaCzęści książek na temat "Improvisation (acting)"
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Lutterbie, John. "Improvisation". W Toward a General Theory of Acting, 161–79. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230119468_6.
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Krasner, David. "Improvisation and Jazz Acting". W An Actor’s Craft, 132–48. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-0-230-35772-3_8.
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Barton-Farcas, Stephanie. "The Callback. The Cold Read. The Screen Test. Improvisation". W Acting & Auditioning for the 21st Century, 99–104. New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351131551-11.
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Saint-Germier, Pierre, i Clément Canonne. "Improvisation, Actions, and Processes". W The Routledge Handbook of Philosophy and Improvisation in the Arts, 114–28. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003179443-10.
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Beisbart, Claus. "Improvisation and Action Theory". W The Routledge Handbook of Philosophy and Improvisation in the Arts, 100–113. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003179443-9.
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Bagnoli, Carla. "The Springs of Action in Butō Improvisation". W The Routledge Handbook of Philosophy and Improvisation in the Arts, 488–501. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003179443-39.
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Foster, Sandra, Paul J. Lloyd i Sara Kamin. "Mental preparation, memorization, and improvisation." W Performance psychology in action: A casebook for working with athletes, performing artists, business leaders, and professionals in high-risk occupations., 77–97. Washington: American Psychological Association, 2009. http://dx.doi.org/10.1037/11876-004.
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Corcoran, Sean. "Improvisation, Community Music, and Cultural Sustainability: An Action Research Study". W Visions of Sustainability for Arts Education, 23–30. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-6174-7_4.
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Klesen, Martin, Janek Szatkowski i Niels Lehmann. "A Dramatised Actant Model for Interactive Improvisational Plays". W Intelligent Virtual Agents, 181–94. Berlin, Heidelberg: Springer Berlin Heidelberg, 2001. http://dx.doi.org/10.1007/3-540-44812-8_15.
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Mills, Roger. "Intercultural Tele-Improvisatory Performance in Action". W Tele-Improvisation: Intercultural Interaction in the Online Global Music Jam Session, 83–117. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-71039-6_4.
Pełny tekst źródłaStreszczenia konferencji na temat "Improvisation (acting)"
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Medler, Ben, i Brian Magerko. "The implications of improvisational acting and role-playing on design methodologies". W the 28th international conference. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1753326.1753398.
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Lim, Gi Hyun, i Il Hong Suh. "Improvisational goal-oriented action recommendation under incomplete knowledge base". W 2012 IEEE International Conference on Robotics and Automation (ICRA). IEEE, 2012. http://dx.doi.org/10.1109/icra.2012.6224755.
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Varbanov, Ilia, i Georgi Brestnichki. "STUDY OF COORDINATION ABILITIES AND THEIR RELATIONSHIP TO ANTICIPATION IN ATHLETES". W INTERNATIONAL SCIENTIFIC CONGRESS “APPLIED SPORTS SCIENCES”. Scientific Publishing House NSA Press, 2022. http://dx.doi.org/10.37393/icass2022/04.
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Coordination abilities are a set of human properties manifested in the training process and in competitive activity, which determines the success in the management of motor actions of different coordination levels (Lyach, 2002). According to Anochin (1979), an anticipation is a particular form of “overtaking reflection”, in which the image of the result of the action of its actual appearance (occurrence) is formed in the mind of man. Based on this statement, we will try to improve the performance of athletes. Improving the results by choosing the right action according to the feedback received after the first attempt and focusing attention and actions on rational and pragmatic implementation, which we expect to improve results and reduce repetitions in the study of new actions. In our view, a way to achieve this goal would be through work to improve the anticipation capabilities of athletes. The problem of anticipation in sports games is of utmost importance for achieving victory in the completion between offender and defender. Coordination of movements is related to coordination with objects, people, animals, and machines, the behavior and movement of which are often unpredictable (Videv, 2015). In turn, anticipation produces skill-actions (respectively, counteractions) that are confidently carried out within a fraction of a second, called “improvisation”, which is significantly increased by targeted multi-year preparation from childhood (7-8 years). Based on everything so far mentioned, we decided to test the coordination abilities of athletes and, at the same time, see how they would act in subsequent situations similar to the previous one to improve their performance by applying their anticipation skills. Our results point to our assertion that creating an image of your work and bringing anticipation actions into the implementation of performance, in this case, the implementation of various coordination exercises, would improve the performance of athletes.
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Soares, Klisman Mateus de Andrade, Maria Gabriela de Almeida Pinto, Tauane Barbosa Dos Santos, Débora De Gois Santos, Denise Conceição De Gois Santos Michelan i Paulo Ricardo Ramos Santos. "Aplicação do kit completo para minimizar a interrupção do fluxo de trabalho: making-do e trabalho inacabado". W XI SIMPÓSIO BRASILEIRO DE GESTÃO E ECONOMIA DA CONSTRUÇÃO. Antac, 2021. http://dx.doi.org/10.46421/sibragec.v11i00.11.
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The current scenario of the construction sector has several peculiarities regarding the standardization and development of processes. These unusual features are not always favorable and resulting in rework and improvisations in the construction site, which leads to disruption of the process. One solution is to provide the complete kit, to avoid waste by making-do and work in progress. The aim is to identify which categories of best practice are most valued by engineers, in search of continuity of the work, by applying the complete kit. The method includes the elaboration of a framework of managerial actions; information about the importance of the adoption of best practices, through the application of questionnaires based in the theoretical framework. As a result, managers attributed "great importance" to the managerial actions of the categories: worker protection, work conference, process protection, and access. It is concluded that the managers concentrate on the work at the production site, rather than actions for work preparation, project and schedule.
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Lim, Gi Hyun, Il Hong Suh i Luis Seabra Lopes. "The Representation of Weighted Action-Coupled Semantic Network and Spreading Activation Model for Improvisational Action". W 2013 IEEE International Conference on Systems, Man and Cybernetics (SMC 2013). IEEE, 2013. http://dx.doi.org/10.1109/smc.2013.692.
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Pushkina, Valentina, Svetlana Razmahova, Dilbar Borisovets, Irina Gernet i Tatyana Shirokova. "Use of Speech Exercises at Correction of Rigidity Level in Students". W The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-74.
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To date, the guiding values of the domestic educational system have been changed. Knowledge and skills have been substituted with competences i.e., the ability to perform any work in an efficient and the cheapest manner. A practice-oriented approach has come to the forefront, requiring changes in teaching methods and technology. Therefore, active and interactive forms of education have taken a significant place in the educational process. By organising the learning process in this way, personal features of students, plasticity and flexibility of mental formations play an important role. In the course of intercommunication, the improvisation method is often employed, therefore such a personal trait as rigidity can badly hamper intercommunication. The methods embraced under the study were as follows: questionnaires to discover student personality characteristics, the analysis of scientific and research publications on the subject topic. To alleviate rigidity, speech exercises to develop speech skills and enunciation were used. The students’ rigidity was assessed prior to and following the Effective Engagement Techniques class, which included 36 hours of classroom work. The study demonstrated that the use of speech training exercises in the teaching process significantly reduced the level of rigidity in students: the number of students with high levels of rigidity decreased by 19 %, the group of students with medium levels of rigidity decreased by 6 %, and the group with low levels of rigidity increased by 25 %. The changes in young people’s personal characteristics will enable them to alter their actions more effectively and to adapt to the changing external environment.
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Vyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education". W ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.
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The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient creative imagination, lively idea, the ability to combine different tasks and achieve the goals. Achieving this task is possible if students are involved into the process of mastering the active types of musical activities – singing, musical-rhythmic and instrumental activity, development of aesthetic perception of musical works. While watching the group of students trying to master the musical activity, it is easy to notice that they are good at repeating simple vocal and music-rhythmic exercises. This is due to the young man's ability to imitate. Musical and instrumental activities require much more efforts and attention. It is focused on the types and methods of sound production by the children's musical instruments, the organization of melodic line on the rhythm, the coherence of actions in the collective music: ensemble or the highest form of performance – orchestra. Other effective forms of work include: the phrase-based study of rhythmic and melodic party, the ability to hear and keep the pause, to agree the playing with the musical accompaniment of the conductor, to feel your partner, to follow the instructions of the partiture. All the above-mentioned elements require systematic training and well selected music repertoire. Students find interesting the creative exercises in the course of music-performing activities which develop musical abilities, imagination and interpretive skills of aesthetic perception of music, the complex of improvisational creativity in vocal, musical-rhythmic and instrumental activity. The experiments in verbal coloring of a musical work are interesting too. Due to the fact that children perceive music figuratively, it is necessary for the teacher to learn to speak about music in a creative and vivid way. After all, music as well as poetry or painting, is a considerable emotional expression of feelings, moods, ideas and character. To crown it all, important aspects of the would-be teacher’s creative personality’s development include the opportunities for practical and classroom work at the university, where they can develop the musical abilities of students as well as the professional competence of the would-be specialist in music activity. The period of pedagogical practice is the best time for a student, as it is rich in possibilities and opportunities to form his or her creative personality. In this period in the process of the direct interaction with the preschool-aged children students form their consciousness; improve their methodical abilities and creative individuality in the types of artistic activity.
Raporty organizacyjne na temat "Improvisation (acting)"
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Schell, Laurie. Introduction to Case-making and Systems Change in Arts & Cultural Education. Creative Generation, luty 2022. http://dx.doi.org/10.51163/creative-gen009.
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Introduction to Case-making and Systems Change in Arts & Cultural Education is an overview of a collaborative project between Creative Generation and ElevateArtsEd undertaken to better understand how practitioners - such as artists, educators, community leaders, and more - can make the case for and also advocate through arts and culture to drive systemic change and address complex challenges. The project seeks to expand the knowledge base of case-making and systems change in the field of arts and cultural education and provide resources to support effective actions for practitioners and young creatives. Investigating both the theory and the practice of case-making, the introductory article draws on research from three distinct sectors: cultural, education, and social justice. The approach represents both the science of advocacy-- building blocks for understanding what effective advocacy looks like-- and the art of advocacy with calls for improvisation, adaptability, and generative thinking, all characteristics of art making. The article describes six key learning themes and an expanded model for advocacy focused on self, field, and sector through an overarching lens of social justice.
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Ilgenfritz, Pedro. Guide Me Without Touching My Hand: Reflections on the Dramaturgical Development of the Devised-theatre Show One by One. Unitec ePress, grudzień 2016. http://dx.doi.org/10.34074/ocds.038.
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This essay is a reflection on some aspects of dramaturgy observed during the creation and development of One by One, a silent tragicomedy designed by the Auckland company, LAB Theatre, in 2011 and restaged in 2013. The emphasis of the essay is on pedagogical aspects at the core of the company’s work, as they inform the creative process and lead to the blending of the actor’s function into that of the dramaturg. The following discussion makes apparent the fact that this process of hybridisation, made possible by implementing features of devised theatre, emancipates the actor and brings improvisation to a better use. The play was based on the notion that theatrical action must be ‘suggestive’ rather than ‘descriptive.’ This idea originated in the works of Konstantin Stanislavski (1988) and Jacques Copeau (2000) and was developed by more recent theorists of dramaturgy into a practical framework for theatrical performance in general. The success of One by One depended very much on the implementation of these principles. The achievement was duly noted by reviewer Lexie Matheson (2011), who appreciated that One by One “exists on its own, doesn’t need explanation, doesn’t explain itself; it just unravels with delicacy and tenderness, like a good yarn should.