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A critical study of the methods and courses in dramatics in the state normal schools of the United StatesCavett, Lilian January 1924 (has links)
No description available.
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Actors as embodied public intellectuals: reanimating consciousness, community and activism through oral history interviewing and solo performance in an intertextual method of actor trainingSteiger, Amy Lynn 28 August 2008 (has links)
Not available
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The effect of Kabuki training on the Western performances of Western acting studentsBethune, Robert William January 1985 (has links)
Typescript. / Thesis (Ph. D.)--University of Hawaii at Manoa, 1985. / Bibliography: leaves [478]-479. / Microfiche. / viii, 479 leaves, bound ill. 29 cm
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A critical documentation of Mavis Taylor's teaching of improvisationCalburn, Caroline January 1994 (has links)
Bibliography: leaves 186-191. / This study documents Mavis Taylor's teaching of Improvisation at the University of Cape Town and provides a critical analysis of the improvisational methods she uses in the training of actors. It places her teaching within the wider field of improvisation understanding the importance of knowledge of 'self for the craft of acting. There is discussion around the role of the imagination and spontaneity in actor-training, and debate is raised regarding the concepts and practice of sensory and emotional memory training. The significance of teaching structure and form as a method for students to manipulate the medium of improvisation is argued, proposing that the creation of alternative meanings and 'realities' is the essence of acting.
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Training the student actor in the production process : a look at areas in which a director within a training institution can facilitate the learning process in a student actorSchultz, Waldemar 03 1900 (has links)
Thesis (MDram)--Stellenbosch University, 1997. / ENGLISH ABSTRACT: A thesis in which the author examines ways in which the director within an acting
training institution may use the full-scale theatre production as a means of intense
training for the students involved.
The author contends that much of the theory and practical work taught within a
classroom situation cannot be fully comprehended and/or brought to fruition if it is
not tested and experienced within as realistic (pertaining to professional theatre) as
possible a scenario, in the form of the student production.
For the purposes of this thesis, the typical practical production process is used as a
model and different areas in which the director may act as a teacher or catalyst to
self-discovery are discussed largely in the order in which they might occur in
practice.
The author concludes that to provide intensive training through the production
process would be a very time-consuming and costly endeavour, although very
rewarding if it were at all possible. In addition to this, it would require a highly
qualified director-trainer, with an holistic understanding of the 'theatrical art, who
is prepared to invest a great amount of time and effort in such a production.
Research for this thesis included reading material, practical directing and acting
projects, and teaching practical acting in the capacity of a part-time lecturer at the
University of Stellenbosch Drama Department. / AFRIKAANSE OPSOMMING: 'n Tesis waarin die outeur maniere ondersoek waardeur 'n regisseur binne 'n
akteurs-opleidingsinstansie die volskaalse teaterproduksie kan gebruik as 'n metode
vir intense opleiding vir die betrokke studente.
Die outeur meen dat 'n groot gedeelte van die teorie en praktiese opleiding wat in
die klaskamer weergegee word, nie ten voile verstaan of benut word, tensy die
student dit beproef en beleef in so 'n realisties (wat professionele teater betref)
moontlike scenario, in die vorm van 'n studenteproduksie.
Vir die doeleindes van hierdie tesis word 'n tipiese produksieproses as model
gebruik, en verskeie areas waarin die regisseur as onderwyser of katalisator tot
selfontdekking kan optree, word grotendeels bespreek in die volgorde waarin dit in
die praktyk mag voorkom.
Die gevolgtrekking is dat intensiewe opleiding in die produksieproses 'n uiters
tydsame en duur oefening sou wees, dog baie lonend indien prakties uitvoerbaar.
Daarby sou dit 'n hoogs gekwalifiseerde regisseur-opleier verg, met 'n holistiese
kennis van die teaterkuns, wat bereid is om baie tyd en moeite op s6 'n produksie
te bestee.
Navorsing vir hierdie tesis sluit in leeswerk, praktiese regie- en toneelspelprojekte
sowel as klasgee in toneelspel as deeltydse lektor aan die Universiteit van
Stellenbosch se Departement Drama.
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Focused awareness in action: A system of movement experiences and its contribution to healthAltman, Holly Ann, 1957- January 1988 (has links)
Focused awareness in action was designed by the author as a system of movement experiences intended to enhance individual health and self-developmental processes. Drawing on principles of yoga, pranayama, modern dance, movement improvisation, and meditation, with group discussion as a means of integrating the above principles, form components were organized into a methodology for a course of study. The course of study was implemented in a project class and other workshop settings. As a result of these experiences, the thesis describes the structure and implementation of focused awareness in action. Speculations are made regarding its potential contribution to health and self-development. Most significant among the conclusions reached is the role of group interaction and interconnectedness in realizing the potential of the model.
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The theory and practice of actor training at the American Laboratory TheatreBrault, Margueritte Elaine Bryan January 1979 (has links)
No description available.
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An Experimental Course in Movement Preparation for Beginning PerformersMurphy, Martha F. 08 1900 (has links)
This is a course outline for the first semester of movement training for beginning performers in theatre, part of a two-year course of study based on the Becque-Todd method of movement development. Emphasis is on a psychophysiological approach to developing new motor habits.
The introduction presents the history, background, basic premises on which the course is based, and the techniques and tools used. Each subsequent chapter represents a unit of work on a specific problem, each taking one or more class periods.
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A journey in metaxis : been, being, becoming, imag(in)ing drama facilitationLinds, Warren 05 1900 (has links)
A journey in metaxis explores the facilitation of drama workshops using an adaptation of Theatre
of the Oppressed, a participatory drama process used with high school students, teachers and
others in the community. New possibilities of engagement open up as knowing emerges through a
variety o f forms of dramatic action which are simultaneously the medium, subject and
re-presentation of research.
As a theatre pedagogue I explore how knowing and meaning emerge through theatre and in the
interplay between my life and my work. Writing, then reading, narratives of my practice engages
me in a conversation that helps me draw attention to my practice. Diverse roles and points of view
of the drama facilitator begin to become apparent as these narratives speak through a spiralling
process of shared experiences. Commentaries on these experiences lead to discussions of the
implications of this inquiry for other forms of reflective leadership practice in drama and in
education.
Particular attention is placed on the role of the body and mind (bodymind) of facilitator and
participants as they journey into an increasing awareness of senses, histories, the landscapes
worked in, and the relationships that intertwine through the constant ebb and flow of the drama
workshop. Using a framework that parallels the drama workshop I facilitate, I play with forms of
texts, languages and styles to enter into the text(ure) of the worlds of facilitation so that we may
come face to face with kinaesthetic and discursive experiences remembered and reconsidered.
Writing my body into this exploration enables me to become mindfully aware of, and extends and
transforms, my practice. I re-awaken the memory of my senses and re-connect with them in the
moments of "performing" my teaching. Such poetic and expressive writing enables an evocation
of the world of drama. Writing from and through a sensing body means that reflection on practice
becomes not merely reporting experiences, but also celebrating and expressing the multi-vocal,
multi-layered events that develop drama facilitation skills.
Writing, then reading, about this process of coming to know my identity-in-process as a drama
facilitator enables the interpretation, interrogation and transformation of how one becomes
facilitator, "making the way as we go," (re)writing/performing our presence.
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As múltiplas presenças do ator : novas relações e inovações em territórios cênicos /Coelho, Maíra Castilhos, 1979- January 2017 (has links)
Orientador: José Manuel Lázaro de Ortecho Ramirez / Banca: Gabriela Lírio Gurgel / Banca: Mirna Spritzer / Banca: Gisela Habeyche / Banca: Vicente Concílio / Acompanha DVD com fragmentos dos espetáculos analisados. / Resumo: A pesquisa aqui proposta pretende refletir sobre as formas de presença do ator existentes no teatro a partir da fusão com a linguagem cinematográfica. Sob o ponto de vista do ator, foi pesquisada a nova dimensão da sua presença no palco, caracterizada pela utilização da câmara e do microfone. Para tanto, introduzimos uma breve história do teatro durante o surgimento do cinema visando contextualizar os estudos e reflexões contidos nos capítulos seguintes, nos quais serão aprofundados os avanços tecnológicos que culminaram no momento presente. Ao estudar as possibilidades do uso de recursos digitais no teatro, o foco é direcionado para as relações entre ator, câmera e projeção, visando investigar as possíveis formas de presença que vem sendo exploradas no teatro. Assim, o estudo é desenvolvido a partir das encenações: "E se elas fossem para Moscou?", de Christiane Jatahy; "King of War", de Ivo Van Hove; " Le Projet Andersen", de Robert Lepage; "The Tempest", de 4DArt; "Eraritjaritjaka", de Heiner Goebbels. A escolha dos espetáculos se deu devido a diferentes formas de captação e projeção das imagens em vídeo, que possibilitam, formas distintas de presença e de convívio entre ator-câmera-espectador. Por fim, é esperado, também, que o estudo propicie subsídios analíticos para a investigação das novas possibilidades deste "teatrodigital" e das tendências que se desanuviam em um futuro próximo de evolução tecnológica e diversificação técnica. / Abstract: The present research intends to reflect on actor's types of presence in theatre from the fusion with the cinematographic language. Under the actor's point of view, it was researched a new dimension of his presence on stage, characterized by the use of camera and microphone. To this end, the study begins with a short history of theatre during the rise of cinema so as to contextualize the studies and reflections contained in future chapters, which present technological advances culminating in the present day. In studying the possibilities of this "theatre-cinema", the research focuses on relationships between actors, cameras, and projections, as well as investigating possible forms of presence that both cinema and theatre explore, and that enable new relations between actors and spectators to be formed. The study examines the following scenic productions: "E se elas fossem para Moscou?" by Christiane Jatahy; "King of War", by Ivo Van Hove; "Le Projet Andersen", by Robert Lepage; "The Tempest", by 4DArt; and "Eraritjaritjaka", by Heiner Goebbels. The choice of productions is based on different forms of capturing and projecting video images, which allow for distinct modes of presence and of interaction between actors, cameras, and spectators. Finally, the research also aims to supply analytic tools toward the investigation of new possibilities of this "theatre-cinema" and of tendencies that will arise in the near future, based on technological evolution and technical diversification. / Doutor
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