1,720,954 research outputs found
The Actor in the Storytelling School
No full textThis essay was born from a formative and revealing experience of the author\u27s incidental encounter with storytelling. Seduced by the unsuspected valences of this phenomenon, the author has integrated the “tools of the trade” in his work as an acting teacher. The article’s premise is that storytelling is an exceptional way of uniting the actor and the spectator in common action, leading to a more complex understanding of the world surrounding them
The Actor Lost in Translation? Competence vs. Presence in the Teacher‐Director’s Stage Directions
No full textThis article carries on a research approach started years ago by the author, investigating the necessary conditions for producing a creative environment, favorable for the development of the actor in the acting school. Aspects of the relation between the teacher‐director with the student‐actor are discussed, and a series of possible interacting means and effects of the orality between the two are revealed
Saving the Mask
No full textThe Article defends the actor’s mask training from the reformist trends that consider the mask study to be no longer necessary or topical. The author identifies one of the causes of this attitude in the purpose of higher education in Europe that has changed in the recent years. Students are unfortunately encouraged to have employment-focused consumer behaviours, therefore are more concerned with the results than with the process of learning and personal development. Specifically, the question arises whether academic studies, theatre, in this case, are intended only for the training of future employees or, without excluding, of course, this goal, they are rather ways to model behaviours, to (in)-form the spirit, to educate critical thinking and, last but not least, to endow students with an ethos that will allow them to be, as future theatre artists, spokesmen of free expression, the “mirror of the times”? The study continues with a brief exposition of the principles, themes and benefits of mask training. In the final part, the author presents the results of a mini-survey among graduates of the Cluj theatre school, questioned about the role of mask studies in their professional careers
The Actor Lost in Translation? Competence vs. Presence in the Teacher-Director’s Stage Directions
No full textThis article carries on a research approach started years ago by the author, investigating the necessary conditions for producing a creative environment, favorable for the development of the actor in the acting school. Aspects of the relation between the teacher-director with the student-actor are discussed, and a series of possible interacting means and effects of the orality between the two are revealed
The Actor in the Storytelling Schoo
No full textThis essay was born from a formative and revealing experience of the author's incidental encounter with storytelling. Seduced by the unsuspected valences of this phenomenon, the author has integrated the “tools of the trade” in his work as an acting teacher. The article’s premise is that storytelling is an exceptional way of uniting the actor and the spectator in common action, leading to a more complex understanding of the world surrounding them
Jean-Jacques Lemêtre, or the Man in a State of Flow
No full textThe following article describes the author’s experience during the collaboration (March-July 2023) with the music director of Le Théâtre du Soleil, Jean-Jacques Lemêtre. His activities at the Faculty of Theatre and Film in Cluj, a concert-conference, the workshops with the students and the construction of an audience course prepared for the International Theater Festival in Sibiu are presented. Excerpts from students’ opinions about working with J.-J. Lemêtre are also provided
Jean-Jacques Lemêtre, or the Man in a State of Flow
No full textThe following article describes the author’s experience during the collaboration (March-July 2023) with the music director of Le Théâtre du Soleil, Jean-Jacques Lemêtre. His activities at the Faculty of Theatre and Film in Cluj, a concert-conference, the workshops with the students and the construction of an “audience course” prepared for the International Theater Festival in Sibiu are presented. Excerpts from students’ opinions about working with J.-J. Lemêtre are also provided
Going Beyond Counting First Authors in Author Co-citation Analysis
No full textThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
No full text“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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