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Acting fear
No full textU svom diplomskom radu bavit ću se glumačkim strahom, kako on utječe na našu glumačku ličnost, kreaciju uloge i na samu izvedbu. Kroz pet poglavlja retrogradno ću se reflektirati na svoj studij, glumački proces kako na glumačkim klasama tako i na redateljskim klasama te naposljetku u profesionalnom kazalištu. Uglavnom ću pisati o svom strahu s kojim sam se suočavala na Akademiji dramske umjetnosti, o strahu od autoriteta, o strahu od nastupa i naposljetku o strahu pred samom sobom. U zaključku ću pokušati zaokružiti sve svoje misli i teze koje ću navesti.In my diploma work I will deal with acting fear, how it affects our acting personality, role creation and performance itself. Through five chapters I will reflect on my studies, acting process, both in acting classes and in theatre directing classes and finally in a professional theater. I will mostly write about my fears I was faced with at the Academy of Dramatic Art, about the fear of authority, the fear of appearances, and finally the fear of myself. In conclusion, I will try to summarize all my thoughts and theses I will cite
The Dramatic Use of Silence on Film - Through the Films of Ingmar Bergman
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Glumački proces i razlika uspostavljanja lika i uloge
Get PDFU ovome radu bavit ću se definiranjem pojmova lik i uloga, procesima uspostavljanja lika i uloge, njihovoj dihotomiji, te što oni znače za glumca u praktičnom smislu. Kako svijest o tim procesima može pomoći glumcu u njegovom radu? Kako i gdje se spajaju napisani lik i glumac koji ga tumači? Što je uloga i kako mehanizam identifikacije glumca s likom, te publike s glumcem stvaraju život na sceni? Što znači biti istinit za glumca, a što za publiku? Polazište za ovaj rad nije niti jedna teorija glume, već moje iskustvo i rad na Akademiji dramske umjetnosti u Zagrebu. Stoga ću govoriti i o svojim ispitnim produkcijama tijekom studiranja.In my thesis main focus will be defining terms character and the role, processes of establishing character and the role, their dichotomy and their meaning to an actor in practical work. How awareness of these processes can help an actor in its creative work? How are character and actor intertwined? What is the role and how identification mechanisms of actor with the character and audience with an actor create life on the stage? What it means to create the truth on the stage and what the truth is to an actor and what it is for the audience? Baseline for this thesis is not any existing acting technique. It is based on my own experience at the Academy of dramatic arts in Zagreb. Among other things, I will be talking about my art exames and productions during course of my studies
