The dynamic mask: Facial correlates of character portrayal in professional actors

Actors make modifications to their face, voice, and body to match standard gestural conceptions of the fictional characters they are portraying during stage performances. However, the gestural manifestations of acting have not been quantified experimentally, least of all in group-level analyses. To quantify the facial correlates of character portrayal in professional actors for the first time, we had 24 actors portray a contrastive series of nine stock characters (e.g., king, bully, lover) that were organised according to a predictive scheme based on the two statistically independent personality dimensions of assertiveness (i.e., the tendency to satisfy personal concerns) and cooperativeness (i.e., the tendency to satisfy others’ concerns). We used three-dimensional motion capture to examine changes in facial dimensions, with an emphasis on the relative expansion/contraction of four facial segments related to the brow, eyebrows, lips, and jaw, respectively. The results demonstrated that expansions in both upper- and lower-facial segments were related to increases in the levels of character cooperativeness, but not assertiveness. These findings demonstrate that actors reliably manipulate their facial features in a contrastive manner to differentiate characters based on their underlying personality traits.

Menelusuri Nilai Budaya Yang Terkandung Dalam Pertunjukan Tradisional Wayang

Abstrak Wayang adalah salah satu jenis kebudayaan Indonesia yang sampai saat ini masih eksis karena didalamnya mengandung nilai-nilai positif dan memberikan tambahan wawasan pada setiap pertunjukan dari tokoh yang diperankannya, meskipun dalam rentang waktu dan perkembangan, Masih kurang minat masyarakat utamanya genarasi mudah mempelajari dan menghayati, mendalami seni wayang untuk dipertunjukan ke masyarakat, bahkan seni budaya pertunjukan tradisional wayang ini secara dinamis berkembang mengikuti kemajuan zaman dengan berbagai variasi pertunjukan . Tujuan penelitian untuk mengetahui nilai-nilai apa saja yang terkandung dalam setiap cerita pertunjukkan tradisional wayang. Metode penelitian menggunakan analisis kualitatif dengan pendekatan etnografi. Teknik pengumpulan data dengan wawancara, studi pustaka, pengamatan langsung dan dokumentasi berupa data informan atau nara sumber yaitu Ki Hadi Sutoyo. Hasil penelitian menemukan terdapat nilai-nilai budaya yang terkandung dalam pertunjukkan tradisional wayang yaitu Nilai Religius, Nilai Pendidikan, Nilai Kebangsaan dan Nilai Kepemimpinan. Kata Kunci : Nilai Budaya, Wayang, Pertunjukan Explore Cultural Values Contained In Wayang Traditional Show Abstract Puppet is one of the Indonesian culture which still exists up to present because it reflects positive values and gives additional knowledge from the characters in its stage performances. From time to time, puppet traditional stage art dynamically changes depending on the actual contexts follows within. There is still a lack of interest from the community, especially the generation that is easy to learn and appreciate, deepening the art of wayang to be show to the public, even this traditional cultural art of wayang performance is dynamically developing following the times with various variation of performances. The data collection techniques are by interviews, literature reviews, direct observation, and documentations data the main source Ki Hadi Sutoyo. Result of the research finds out that the cultural values in the puppet traditional arts are religious value, education value, national value, and leadership value. Keywords: Cultural Values, Puppet, Show

Man of the Theatre: Stage Performances of T. S. Eliot’s Work in Spain (1949–2016)

T. S. Eliot’s presence in Spanish theatres has taken various forms. His verse drama enjoyed a relative popularity in the late 1940s and in the 1950s: Murder in the Cathedral, The Family Reunion and The Cocktail Party were staged by student and amateur groups, “chamber” companies and even a national theatre. Reviews were ambivalent, most of them finding fault with the plays’ poetic density as an impediment for performance. Although, as a conservative Anglo-Catholic, Eliot was a priori an unproblematic author for the Francoist establishment and its censorship, critics loyal to Spanish National Catholicism were uncomfortable with the tragic fatalism of The Family Reunion, or with the non-judgemental treatment of adultery in The Cocktail Party. When Eliot’s plays were losing their appeal from the late 1950s onwards, only Murder in the Cathedral was occasionally performed in Spain. More recently, intermedial transpositions and dramatizations of Eliot’s poetry have consolidated his image as a great influential poet whose drama is a rarity.

ОСОБЛИВОСТІ ВИГОТОВЛЕННЯ ПОЯСУ СУКНІ ЖІНОЧОЇ З ПРОГРАМОВАНИМ LED ПРИСТРОЄМ

Development of the technology needed for making women’s dresses with a programmed LED device. Methodology. The used methodology of developing a women’s dress belt with a feature of using a programmed LED device. Results. The technological progress and evolution of innovative technologies have a signifi cant impact on the production of modern clothing. This tendency is seen in the expansion of clothing features with the usage of light eff ects. As of today, manufacturers are proposing diff erent textile materials that have fi ber optics in their structure or use LED stripes and tubes for ornamenting their products. Sewing products that are made of fi ber optic materials require specialized personnel with knowledge of LED systems principals of work because, in the event of failure of such system in the product, it must be eliminated with an urgency. Based on the said study it is proposed to use an LED device that is constructed with the following components: an LED stripe 50cm long 1cm wide, batteries, a board with a microcontroller and capacitor WS2812B RGB, voltage converter, and connectors. Using this in a product will allow it to get the light eff ects by programming a corresponding microcontroller program. With an example of a dress belt, certain studies were made that had shown that the light eff ect is working the best on white or cream-colored clothes. Using such a device brings in the advantage of the ability to repeatedly remove and place it back in the dress’ belt, which will be convenient for the consumer when taking care of the clothing and when servicing the device itself. Scientifi c novelty. For the fi rst time the principle of obtaining light eff ects of garments based to use of a programmable LED device was developed. Practical importance. The technology of manufacturing a women’s dress belt with light eff ects has been proposed, which allowed the placement of a programmed LED device with the elements connected in a certain sequence. Women’s dress with a belt made by this technology can be used for stage performances, photoshoots, and short-term events. Recommendations for the care for such a product have been developed.

The Secret Violence: Sebuah Analisa Kekerasan Terhadap Perempuan Di Balik Industri Hiburan

In this paper, the authors will conduct a critical analysis of the culture of secret violence especifically against women in the K-pop media industry. Every year there are sad cases behind the success of large companies that have succeeded in bringing someone to the world stage. Some of the sad cases lead to the death of the idol by suicide. This issue ist important and has taken a lot of public attention. In the perspective of young people, Idols are those who have an ideal body, handsome, beautiful voice, fashionable, have famous band, popular, charming stage performances, have interesting photos and videos that express their feelings and euphoria, and is in caring of a large agency. But in the reality, there were some of idols that have ended their life (suicide). One of the strong reasons is because they are depressed. Furthermore, the authors will analyse the problem from theological perspective, where women are also created by God in His image, who are intelligent and equal to men. So they can’t be made objects of violence. AbstrakDalam paper ini penulis akan melakukan analisa kritis terhadap suatu budaya kekerasan terselubung khususnya terhadap perempuan dalam industri media K-pop. Setiap tahun selalu ada kasus yang memprihatinkan di balik kesuksesan perusahaan-perusahaan besar yang berhasil membesarkan nama seseorang sampai pada kancah dunia. Kasus-kasus yang memprihatinkan tersebut mayoritas berujung pada kematian seorang idola karena bunuh diri. Persoalan ini menjadi penting dan menyita banyak perhatian publik. Tentunya, yang disebut idola oleh anak-anak muda itu adalah mereka yang memiliki tubuh yang ideal, rupawan, suara yang indah, fashionable, grup band yang terkenal, lagu-lagu yang hits, penampilan panggung yang mempesona, foto-foto dan video yang menggugah perasaan dan euforia, serta berada dalam naungan agensi yang besar. Namun tidak disangka-sangka, para idola tersebut tidak sedikit yang memilih untuk mengakhiri hidupnya sendiri. Salah satu alasan yang kuat adalah karena mereka mengalami depresi. Lebih jauh, penulis akan menganalisa persoalan tersebut dari perspektif teologis, di mana sejatinya perempuan juga diciptakan Allah segambar dan serupa dengan Dia, berakal budi, setara dengan laki-laki, dan tidak layak untuk menjadi obyek kekerasan.

Kuglarze w dramat walą. Adam Polewka i szopkowo-farsowe inspiracje w dramaturgii dwudziestolecia międzywojennego

The article reflects on the connections between the Polish drama of the interwar period with such stage performances as a nativity play, farce, cabaret, and circus. The text attempts to point to the possible inquiries into this important problem of the dramaturgy of the 1920s and 1930s. The author concentrates on Adam Polewka himself and his political farse plays, especially the record of Igrce w Barbakanie, a performance prepared for the Cracow Days in 1938. She reads critically the introduction to the post-war edition of this text. In her opinion, this authorial commentary includes precious information about such stage forms of the interwar period as a farse play and circus.

THE ANNIVERSARY BY A. P. CHEKHOV: UNKNOWN BEGINNING OF THE STAGING HISTORY

There has been no information concerning the stage performances of Chekhov’s The Anniversary before 1900. The article outlines the world premiere of Chekhov’s play on March 31, 1893 in Kiev.

Front Theatre and Variety Theatre in Lithuania During World War II

SummaryThis article reveals how theatre on small stages functioned in Lithuania during World War II and what was its impact on different audiences. It discusses two topics: 1) specificities of the front theatre intended for German soldiers and their administration; 2) specificities of variety theatre intended to all kinds of audiences. Front theatres in the Third Reich were a well-structured and well-financed organisation that served not only German soldiers and army officials but was an attractive job place for artists. Shows were given in all the occupied territories and thus the morale of the German army was supposed to be maintained. Variety theatres, that is small stage performances, were dedicated to lower class audiences; these shows demanded no intellectual effort and were meant to entertain. Journalists, writing about this type of theatre, avoided to criticise it, because it nevertheless fulfilled its duty to stimulate citizens’ optimism and to make them more loyal to the Nazi government.

The singing film star in early French sound cinema

In the early years of synchronized sound film, cinema’s relationship to live theatre was a topic of debate. Many stars from the Parisian stage successfully transitioned to the screen, becoming important figures in establishing a French national sound film style at a time when the medium’s future remained uncertain. Not only did French audiences take pleasure in hearing French stars speak on-screen, but the French singing voice also had an equally influential, if less examined, effect. Songs performed on-screen by stars from the French stage bridged theatrical traditions and sound cinema’s emerging audio-visual aesthetics. This article examines the singing star in early French sound cinema. Drawing on scholarly approaches to stardom in France and abroad by Richard Dyer and Ginette Vincendeau, I focus on musical numbers in early French sound films that feature three singers already famous on the Parisian stage: Fernandel, Henri Garat and Josephine Baker. I consider how these songs are visually structured around the singing star’s stage presence, and how the soundtrack was likewise constructed around their voices familiar to audiences from recordings and stage performances. Through my analysis, I show how the singing star contributed to a broader acceptance of sound cinema in France.