6,465 research outputs found
It's True, It's True, It's True / Production
No full textCenturies after it shook Renaissance Rome, the 1612 trial of Artemisia Gentileschi is dramatised in this award-winning verbatim production devised by Breach Theatre.Writer, Barrett, Billy ; Writer, Stevens, Ellice ; Stage Director, Barrett, Billy ; Film Director, Huw, Rhodri ; Set Designer, Robson, Luke W. ; Lighting Designer, Adams, Lucy ; Costume Designer, Hawkins, Kitty ; Dramaturg, Allen-Pickard, Dorothy ; Line Producer, Moore, Celia ; Stage Producer, Claughton, Ellie ; Film Producer, Beresford, Anne.Centuries after it shook Renaissance Rome, the 1612 trial of Artemisia Gentileschi is dramatised in this award-winning verbatim production devised by Breach Theatre.Description based on online resource; title from title screen (Digital Theatre+, viewed June 30, 2022
The Making of It's True, It's True, It's True / Interview
No full textProfessor Jen Harvie discusses the making of It's True, It's True, It's True with Breach Theatre co-directors Ellice Stevens and Billy Barrett.Professor Jen Harvie discusses the making of It's True, It's True, It's True with Breach Theatre co-directors Ellice Stevens and Billy Barrett.Description based on online resource; title from title screen (Digital Theatre+, viewed June 30, 2022
The Alchemical Actor /
No full textThe Alchemical Actor - Performing the Great Work: Imagining Alchemical Theatre offers an imagination for new theatre inspired by the directives of Antonin Artaud. The alchemical four elements - earth, water, air and fire and four alchemical stages - nigredo, albedo, citrino and rubedo perform initiatory steps in the practice of alchemical transformational consciousness. The depth psychological work of Carl G. Jung, theatre techniques of Michael Chekhov, Rudolf Steiner, William Shakespeare and others compose this 'Great Work'. Jane Gilmer conjures the magical unknown leading the reader through material cognition towards gold-making heart-thinking - key to new and future theatre.Includes bibliographical references and index.The Alchemical Actor - Performing the Great Work: Imagining Alchemical Theatre offers an imagination for new theatre inspired by the directives of Antonin Artaud. The alchemical four elements - earth, water, air and fire and four alchemical stages - nigredo, albedo, citrino and rubedo perform initiatory steps in the practice of alchemical transformational consciousness. The depth psychological work of Carl G. Jung, theatre techniques of Michael Chekhov, Rudolf Steiner, William Shakespeare and others compose this 'Great Work'. Jane Gilmer conjures the magical unknown leading the reader through material cognition towards gold-making heart-thinking - key to new and future theatre.Description based on print version record
Relationship Author, Actor and Character
No full textThe work deals with the relationship between author, actor and character. The whole piece is divided into three major chapters; each of them discusses one of the constituent elements of this relationship.
The analysis is based on the Charlie Kaufman?s film and screenplay Synecdoche, New York and, also, works with Six Characters in Search of an Author and Zeno's Conscience.
The aim of this work is to get the final form of the character captured by the author, and interpreted by the actor in front of the camera. I am searching for the perfect character, if that exists. I write about the subtle movement of a character from the world of fantasy to our real world and also about the dialogue held between the character with both author and actor
VIA RHYTMÓS : An Investigation of Rhythm in Psychophysical Actor Training
No full textThis thesis investigates the significance of rhythm to the actor, examining the ways it is approached, understood and embodied within a range of training practices. In what ways does rhythm facilitate and transform the practices of individual performers and ensembles, affecting their use of attention, physical coordination, qualities of connectivity, states of consciousness and emotions? The psychophysical mechanisms through which rhythm informs these key aspects of actor training are analysed here via a range of contemporary and historical psychophysical and cultural frameworks. Drawing on this body of research this thesis argues the case for a greater understanding of the pedagogy of rhythm within actor training, indicating a number of areas for further investigation and potential developments within this field. Beginning with Stanislavski’s use of “Tempo-rhythm” and progressing through the practices of Meyerhold and Grotowski, a number of key rhythmic principles will be discussed. This will lead on to a series of case studies on the contemporary training practices of John Britton, Nicolás Núñez, and Reinhard Flatischler. Following this will be an examination of simultaneity in acting practices and an analysis of the author’s own practical research into the use of polyrhythm as a tool for cultivating modes of simultaneous attention and action in actor training
Actor as a co-author
No full textDiplomová práce se zabývá tématem herce jako spoluautora, možností autorského vkladu herce v inscenaci a hranicemi tohoto autorství. Celá problematika diplomové práce se vztahuje k autorskému magisterskému projektu Proměním se v zajíce se zármutkem a obrovskou opatrností. Obsahem první části diplomové práce je schopnost kolektivní spolupráce skupiny Gob Squad. V popisu jejich práce reflektuji své tvůrčí zkušenosti. Ve druhé části se zaměřuji na postup Anny Klimešové a kolektivu u zkoušení inscenace Proměním se v zajíce se zármutkem a obrovskou opatrností. Třetí část řeší téma herce jako spoluautora v souvislosti s výukou na katedře alternativního a loutkového divadla a jejího vlivu na mě, jako na herce a tvůrce.This master thesis focuses on the actor as a co-author, the possibilities of actor’s involvement as an author in the play and boundaries of the authorship. The research problem of the master thesis is tied to the master project I shall go into a hare with sorrow and such mickle care. The first part of the master thesis is focused on the collective ability of cooperation of the God Squad group. In their work I reflect my creative experiences. In the second part I focus on the progress of Anna Klimesova and the group while rehearsing the play I shall go into a hare with sorrow and such mickle care. The topic of the third part is the actor as a co-author in connection to learning on the department of alternative and puppet theatre and its influence on me as an actor and a creator
[Diary Entry for Saturday, April 13, 1940]
No full textThis page is part of a diary by Sir Ellice Victor Elias Sassoon. He wrote that he slept a lot and read a book about the Burma Road for which the author got the idea at his garden party in 1937. He then said he went to bed at 8 and that Edna came in to ask how he was
An Exploration of the Dynamics of Consensual Approaches in Biodiversity Planning for the Wider Countryside: Evaluating the Usefulness and Applicability of Actor-Network Theory
No full textThis research examines the usefulness of applying theoretical principles from the Sociology of
Translation and Actor Network Theory to the scenario of biodiversity planning in Oxfordshire
between the early nineteen nineties and 2001. It develops a model derived from a social
constructionist approach to considering Nature, and seeks to apply it to empirical data on the
development of Oxfordshire's Local Biodiversity Action Plan. The data is considered in relation
to the four poles of the model which are the 'scientific knowledge or technical' pole; the
'institutional' pole; the 'production of practices' pole and the 'nature protected' pole. The idea
that is applied is that scientific knowledge that is generated for a purpose becomes the accepted
wisdom and consequently is institutionalized. From this acceptance of the importance of
scientific or technical authority, practices will then be generated (for example, land or water
management strategies) and these then protect particular elements of nature; essentially what
society, and more specifically, the actors involved with problematising the issue deem as being
elements that are important to preserve.
Also, there is a time and space dimension built into the model since the author builds on the
ideas of actor-network theorists who argue that a network is not a flat shape but that actors may
act at a distance (e. g. global actor) but still be linked into a localized network. Similarly, actors
may be incorporated from different times but may be held into place within a given network
because their views or actions are part of a stable agreement (e. g. text/intermediary object) that
has encapsulated a number of different actors.The actor-networks presented in this thesis are
heterogeneous in nature in that they incorporate elements of nature and the human world as
different actors represent the views of others. The research explores stable and unstable
networks that are founded within consensual approaches through partnership working between
many different types of organisation
Emlyn Williams, author and actor
No full textEmlyn Williams turned himself into a striking likeness of Charles Dickens here for an appearance before the Fort Worth Lecture Foundation in Ed Landreth Auditorium at Texas Christian University. Williams, an author and actor, has given about 500 readings from Dickens during an American tour.https://mavmatrix.uta.edu/specialcollections_startelegram1950s/24768/thumbnail.jp
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