Michael Chekhov's acting technique: a practitioner’s guide

2021 ◽  
Vol 12 (4) ◽  
pp. 620-621
Author(s):  
Joyce Lu
Keyword(s):  
Acting Technique

scholarly journals Meaning in Movement: Adaptation and the Xiqu Body in Intercultural Chinese Theatre

2014 ◽  
Vol 58 (1) ◽  
pp. 42-63
Author(s):  
Emily E. Wilcox
Keyword(s):  
Chinese Theatre ◽  
Hedda Gabler ◽  
Spoken Drama ◽  
Acting Technique

Zhuli xiaojie (adapted from Strindberg's Miss Julie) and Xin bi tian gao (from Ibsen's Hedda Gabler) are two works in a recent series of intercultural xiqu productions by playwrights William Huizhu Sun and Faye Chunfang Fei. In these works, the xiqu body serves as a medium for theatrical expression, where music, costume, movement, and props come together in a super-expressive acting technique that foregrounds qing (情), or sentiment. In these adaptations, the xiqu body compensates for what is necessarily cut from the text in the transformation from spoken drama to xiqu performance.

scholarly journals IMPROVISASI DALAM TEATER ANTARA TEKNIK PEMERANAN DAN PERTUNJUKAN

2019 ◽  
Vol 14 (2) ◽  
Author(s):  
Eko Santosa
Keyword(s):  
Performance Training ◽  
Training Materials ◽  
Acting Technique

Improvisation is sometimes hard to be defined. Every theater worker has their own concept, methode and way to do it. But must of all, improvisation is always connected to spontanity which is transformed from acting is doing. When acting is reality of doing there would be a physcal action which brings influence to feelings or emotions. To have a spontaneus physical adaptation in every beat of scene of acting, actors should be well trained in the term of improvisation. The training materials of improvisation contains all elements of acting which are following four rules; why, do’s, don’ts, and how. Actors whom have skill of improvisation could bring it into the reality of acting as a technique in script’s based theater or to perform within improvisation’s theater. Keywords; improvisation, acting technique, performance, training

scholarly journals Method-ising Cognitive Truth: The Paradigm of Subtext in Baz Luhrmann’s Silver-Screen Vision of Romeo and Juliet’s Wedding

2018 ◽  
Vol 56 ◽  
pp. 57-76
Author(s):  
Elżbieta Litwin
Keyword(s):  
Method Acting ◽  
Baz Luhrmann ◽  
Mise En Scene ◽  
Empirical Perspective ◽  
New Space ◽  
Acting Technique ◽  
Definition Of ◽  
Film Language

A case study of the wedding scene in William Shakespeare’s Romeo + Juliet directed by Baz Luhrmann 1996, this article is a hermeneutic exploration of the truth pursuits within the subtext from the empirical perspective of a practicing director and a semiotician, in accordance with the principles of the Method acting technique. The author proposes a new, space-negotiated definition of subtext as a separate cognitive unit, based on the multilayered interdependences within the directorial semiotic triad of word–emotional action–mise-en-scène. In a minute shot-by-shot analysis, the author examines the hermeneutic collocations in-between the elements of the triad, and demonstrates the ways cognitive spaces become subtextual statements within each shot, as well as how the internal subtexts shape the metasubtext of each shot in order to arrive at the megasubtext of the scene — and subsequently the total subtext of the entire story in a cultural text. Aspects of the evolution of the subtext representations are analyzed within the triad of word–emotional action–mise-en-scène, against the backdrop of the epistemological pursuits of the truth. How do we reach the truth in a cultural text? What components of the film language rule the expression of the truth in a cultural text?

The Structure of Plasticity: Resistance and Accommodation in Russian New Drama

2016 ◽  
Vol 60 (1) ◽  
pp. 116-131 ◽  
Author(s):  
Susanna Weygandt
Keyword(s):  
Soviet Union ◽  
The Self ◽  
The Soviet Union ◽  
History Of ◽  
Acting Technique ◽  
New Drama

The history of the Russian stage traces the importance of objects in storytelling back to an earlier art: plastika, a stylized acting technique that “speaks” spatially with objects. In Russian New Drama, objects enter the stage as supplements to the hero, who survives the disintegration of the Soviet Union as a shell-of-the-self. As extensions of the hero, the hitherto lifeless things begin “to act” and tell their own story.

The Six Questions: Acting Technique for Dance Performance

1999 ◽  
Vol 31 (1) ◽  
pp. 104
Author(s):  
Joellen A. Meglin ◽  
Daniel Nagrin
Keyword(s):  
Dance Performance ◽  
Acting Technique

The Actor as Author of the Text he Acts

2020 ◽  
Vol 9 (2) ◽  
pp. 101-111
Author(s):  
Marta Nogueira
Keyword(s):  
Art History ◽  
Film Adaptation ◽  
Tennessee Williams ◽  
Emotional Factors ◽  
Streetcar Named Desire ◽  
Acting Technique ◽  
A Streetcar Named Desire

We aim to demonstrate how the acting technique and skills of an actor may influence the intentions of a text’s author, showing him new paths through the human and emotional factors. We also aim to demonstrate that what is usually considered a “text” may not always be a fixed entity produced by a single isolated individual. The analysis of the staging and film adaptation of Tennessee Williams’ A Streetcar Named Desire and the development of the character Stanley Kowalski by Marlon Brando, shows how he changed the written version of the play, shifting its core, interfering with the balance between the two main characters and helping to shape the cultural and historical attributes which rendered its particular place in art history. The text produced by the actor may, thus, assume an identical value to that of the dramatic script from which it developed, or even produce a higher impact.

Meyerhold's Theatrical Biomechanics: An Acting Technique for Today

1995 ◽  
Vol 5 (2) ◽  
pp. 181-201 ◽  
Author(s):  
Jane Baldwin
Keyword(s):  
Acting Technique

Origins of a Menschendarstellerin: Characterization and Operatic Performance in Fin-de-siècle Vienna

2019 ◽  
Vol 144 (1) ◽  
pp. 55-82
Author(s):  
Melanie Gudesblatt
Keyword(s):  
Fin De Siecle ◽  
Human Subjectivity ◽  
Fin De Siècle ◽  
Dramatic Performance ◽  
Acting Technique ◽  
The Way

AbstractIn fin-de-siècle Vienna frustrations with ‘lifelessness’ began to boil over. Unlike previous generations of opera-goers, however, the Viennese did not so much fear singers becoming automata as desire dramatic performance that foregrounded humanness and subjectivity. Critics increasingly fetishized vitality – manifested in characters with dramatic integrity and singers capable of nestling themselves in their roles – and by 1910 wanted singers to communicate their own interiority and ‘wilfulness’ as well. This article uses the reception of the soprano Marie Gutheil-Schoder (1874–1935) to demonstrate the growing currency of these imperatives. A controversial hire for the Hofoper, she was initially disparaged by critics as vocally ‘weak’, but the Viennese gradually ‘learnt to love this voice’ for the way in which it could be pressed into the service of the drama and her will. I explain her changing fortunes, arguing that opera-goers valued certain voices in accordance with evolving conceptions of characterization, acting technique and human subjectivity.

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