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Transformative acting remains the aspiration of many an emerging actor, and constitutes the achievement of some of the most acclaimed performances of our age: Daniel Day-Lewis as Lincoln, Meryl Streep as Mrs Thatcher, Anthony Hopkins as Hannibal Lecter – the list is extensive, and we all have our favourites. But what are the physical and psychological processes which enable actors to create characters so different from themselves? To understand this unique phenomenon, Vladimir Mirodan provides both a historical overview of the evolution of notions of 'character' in Western theatre and a stunning contemporary analysis of the theoretical implications of transformative acting. The Actor and the Character: Surveys the main debates surrounding the concept of dramatic character and – contrary to recent trends – explains why transformative actors conceive their characters as ‘independent’ of their own personalities. Describes some important techniques used by actors to construct their characters by physical means: work on objects, neutral and character masks, Laban movement analysis, Viewpoints, etc. Examines the psychology behind transformative acting from the perspectives of both psychoanalysis and scientific psychology and, based on recent developments in psychology, asks whether transformation is not just acting folklore but may actually entail temporary changes to the brain structures of the actors. The Actor and the Character speaks not only to academics and students studying actor training and acting theory, but contributes to current lively academic debates around character. This is a compelling and original exploration of the limits of acting theory and practice, psychology, and creative work, in which Mirodan boldly re-examines some of the fundamental assumptions of actor training and some basic tenets of theatre practice to ask: What happens when one of us ‘becomes somebody else’?
The Actress: Hollywood Acting and the Female Star investigates the contemporary film actress both as an artist and as an ideological construct. Divided into two sections, The Actress first examines the major issues in studying film acting, stardom, and the Hollywood actress. Combining theories of screen acting and of film stardom, The Actress presents a synthesis of methodologies and offers the student and scholar a new approach to these two subjects of study.
Whether new to the business or a seasoned professional, this handbook provides actors with a personal, active approach to discovering and developing their talent. Beginning with appetizers and ending with desserts, actors learn how to prepare a character in the same way that a master chef chooses the most complementary dishes for a feast. From typecasting to reinventing a character's story, actors discover the key ingredients that will enable them to use their own unique qualities and emotions to develop strong, believable characters that people are interested in watching. How to identify and resolve problems such as hidden agendas that can disable an actor's work; distinguish between perception, feeling, and emotions; and find lasting sources of inspiration are among the issues explored. The importance of imagination, words, and story as well as the difference between intellectual and visceral choices (and the impact of each) are also discussed.
How did acting begin? What is its history, and what have the great thinkers on acting said about the art and craft of performance? In this single-volume survey of the history of acting, Jean Benedetti traces the evolution of the theories of the actor's craft drawing extensively on extracts from key texts, many of which are unavailable for the student today. Beginning with the classical conceptions of acting as rhetoric and oratory, as exemplified in the writing of Aristotle, Cicero and others, The Art of the Actor progresses to examine ideas of acting in Shakespeare's time right through to the present day. Along the way, Benedetti considers the contribution and theories of key figures such as Diderot, Stanislavski, Meyerhold, Brecht, Artaud and Grotowski, providing a clear and concise explanation of their work illustrated by extracts and summaries of their writings. Some source materials appear in the volume for the first time in English. The Art of the Actor will be the essential history of acting for all students and actors interested in the great tradition of performance, both as craft and as art.
Parasocial Romantic Relationships: Falling in Love with Media Figures explores how, why, and to what effect individuals develop romantic feelings toward people they “know” from the media. These imaginary, one-sided relationships, dubbed parasocial romantic relationships, are both profound and pervasive, Riva Tukachinsky Forster argues. These relationships can take many forms, including adolescents who develop celebrity crushes on popular music artist, anime enthusiasts who “marry” their favorite characters, and fanfiction authors who insert themselves into narratives as romantic interests of the protagonist. Through analysis of surveys, in-depth interviews, and historical examples, this book advances our understanding of parasocial romantic relationships on both a sociocultural and a psychological level. The data and theories analyzed offer insights into how individuals can become romantically engaged with people they do not actually know, some of whom may not even exist in reality. Ultimately, Tukachinsky Forster argues that although these relationships exist only in the mind of consumers, they serve important psychological functions across different stages of life and can lead to significant consequences for individuals’ nonmediated relationships. Scholars of media studies, communication, psychology, and sociology will find this book particularly useful.
Paul Elsam's Acting Characters is an introductory handbook for the aspiring actor, compiled of twenty steps grouped into six sections to help create, present and sustain a believable character in most circumstances. Fundamentally practical, the book avoids the heavy discussion of theory that often accompanies books on the subject, looking instead at the essentials of how to use different voices and body language to convey character.
"This carefully revised 21st Century Edition (re)considers, in the context of today's field: questions such as 'should actors act from the inside or the outside?' and 'should the actor live the role or present the role?'; contemporary research into communication theory, cybernetics, and cognitive science; brilliantly illuminating and witty exercises for solo study and classroom use, and a through-line of useful references to classic plays; and penetrating observations about the actor's art by more than 75 distinguished professional actors and directors."--Publisher's description.
Because mask improvisation work is relatively new in American theater training, this book is designed not only to acquaint readers with the theory of mask improvisation but to instruct them in the techniques of method as well. Featuring dozens of improvisational exercises in the innovative spirit of Viola Spolin, and supplemented with practical appendices on mask design and construction, forms and checklists, and other classroom materials, this book is an invaluable tool for teacher and student alike, as well as compelling reading for anyone interested in acquiring a deeper understanding of masks as agents of transformation, creativity, and performance.
The text is a conversation between the author and himself mediated by the text of Friedrich Nietzsche’s Thus Spoke Zarathustra. The text is a pre-text, a reading both before and after that frames the art work. What is that? Let us say, in the spirit of inquiry, that of knowing thyself. What, then, of this strange hyphenation? The present text is a pre-text because it is before the Text, the text which the author is always writing but which manifests itself, in sporadic, impulsive bursts, in the form of actual works. The book is the pre-text because it is an excuse, a rationale, a piece of pretension. The book is not about Nietzsche but what it is for someone to read Nietzsche’s text, a book for everyone and no one. How then does one read a book meant for oneself, if oneself is everyone, and not at all for oneself, if oneself is none? Or is it that the real task of reading is for the reader to read what reading is? Then again, need one distinguish between book and text? Perhaps, it is impossible to read a book such as Thus Spoke Zarathustra without invoking the text --or even sub-text – that continually slips away. If one can read a book, one cannot the text for this reason: the text is what the reader has to write through the reading. This has been my experience with Nietzsche’s text, an experience I share with my readers. The very possibility of reading invokes the need to re-write the text. Only in the space between reading and writing can the reader/re-writer hope to stand and understand the discursive grounds. Is that the play which this couplet performs? There, does not the reader enters upon the playground. Read then and play! The author's thanks go to Mr. Andrew Fuyarchuk for the fine editing job that he did. His contribution allowed further clarifications of the argument.
Transmedia Character Studies provides a range of methodological tools and foundational vocabulary for the analysis of characters across and between various forms of multimodal, interactive, and even non-narrative or non-fictional media. This highly innovative work offers new perspectives on how to interrelate production discourses, media texts, and reception discourses, and how to select a suitable research corpus for the discussion of characters whose serial appearances stretch across years, decades, or even centuries. Each chapter starts from a different notion of how fictional characters can be considered, tracing character theories and models to approach character representations from perspectives developed in various disciplines and fields. This book will enable graduate students and scholars of transmedia studies, film, television, comics studies, video game studies, popular culture studies, fandom studies, narratology, and creative industries to conduct comprehensive, media-conscious analyses of characters across a variety of media.