The lack of standardised and structured training, underscored by an academic discourse on film acting, necessitates the designing of a training programme that critically engages with this notion. This study aims to contribute to film acting as a field of study by designing, teaching and assessing the efficacy of a film acting training program. The film acting programme in question addresses the shifts between acting for theatre and acting for film, based on and contributing to scholarly discourse, whilst taking various learning preferences into account. This study makes use of mixed methods to answer the main research question – How does one teach the shifts from theatre acting to film acting? The answer to this question includes defining the shifts from theatre acting to film acting and the means through which these shifts can be taught to individual actors. Four sub-aims are consequently investigated. The first sub-aim examines the performance shifts from theatre acting to film acting. The commonalities in acting in both media are defined, so that the differences may become clear. The findings of sub-aim one serves as impetus for the second sub-aim, which explores several embodied acting approaches to determine how these approaches can be applied to the teaching of the differences between acting for theatre and acting for film. Pedagogical strategies pertaining to teaching and learning are consequently studied, and the elements of these strategies are incorporated in the designing and teaching of the film acting training programme in question (sub-aim three). The final aim focuses on the efficacy of the designed programme. Feedback from the facilitator, the participating actors and a panel of experts is discussed. It is concluded that this study offers a structured film acting training programme that facilitates the shifts from theatre acting to film acting while adhering to students’ thinking and learning preferences. / Thesis (PhD)--University of Pretoria, 2019. / Drama / PhD / Unrestricted

Esta dissertação se propõe a investigar a função do ator e seu modelo de interpretação para o cinema, partindo de apropriações da pesquisa teatral. A partir do sistema de atuação criado por Konstantin Stanislavski, estabeleço uma trajetória de apropriações que se inicia concomitantemente ao desenvolvimento da linguagem cinematográfica, contemplando primeiramente a pesquisa dos cineastas russos Lev Kuleshov, Sergei Eisenstein e Vsevolod Pudovkin. Em um segundo momento, analiso como as ideias de Stanislavski chegaram nos Estados Unidos, influenciando tanto o teatro quanto o cinema americanos. A criação do Actors Studio e a formulação do \"Método\" americano de interpretação são abordadas sobretudo a partir das ideias de Elia Kazan e Lee Strasberg. Por fim, no Brasil, discorro sobre o projeto Prêt-à-Porter (1998 - 2011), criado por Antunes Filho, e sua influência na formação de toda uma geração de atores presentes na produção cinematográfica contemporânea. Nesse percurso que vai do teatro ao cinema, em certos momentos numa via de mão dupla, destaco os procedimentos que contribuíram para o processo de criação dos atores, e a forma como influenciaram sua expressão em ambas as áreas da criação artística. / This project aims at investigating the role of the actor and his/her model of acting for the screen, from a theatrical perspective. Starting with the System created by Konstantin Stanislavski, I establish a trajectory of appropriations, contemplating primarily the researches of Soviet filmmakers Lev Kuleshov, Sergei Eisenstein and Vsevolod Pudovkin. Then, I analyze the arrival of Stanislavski\'s ideas at the United States, and how they influenced both American theater and cinema. The creation of the Actors Studio and the formulation of the American Method of acting will be approached mainly through Elia Kazan and Lee Strasberg\'s ideas. Finally, in Brazil, I analyze the project Prêt-à-Porter (1998 - 2011), created by Antunes Filho, which influenced the formation of a whole generation of actors also present in contemporary film production. Thus, I highlight some procedures that highly contributed to the creative process of actors, from the stage to the screen.

Esta dissertação se propõe a investigar a função do ator e seu modelo de interpretação para o cinema, partindo de apropriações da pesquisa teatral. A partir do sistema de atuação criado por Konstantin Stanislavski, estabeleço uma trajetória de apropriações que se inicia concomitantemente ao desenvolvimento da linguagem cinematográfica, contemplando primeiramente a pesquisa dos cineastas russos Lev Kuleshov, Sergei Eisenstein e Vsevolod Pudovkin. Em um segundo momento, analiso como as ideias de Stanislavski chegaram nos Estados Unidos, influenciando tanto o teatro quanto o cinema americanos. A criação do Actors Studio e a formulação do \"Método\" americano de interpretação são abordadas sobretudo a partir das ideias de Elia Kazan e Lee Strasberg. Por fim, no Brasil, discorro sobre o projeto Prêt-à-Porter (1998 - 2011), criado por Antunes Filho, e sua influência na formação de toda uma geração de atores presentes na produção cinematográfica contemporânea. Nesse percurso que vai do teatro ao cinema, em certos momentos numa via de mão dupla, destaco os procedimentos que contribuíram para o processo de criação dos atores, e a forma como influenciaram sua expressão em ambas as áreas da criação artística. / This project aims at investigating the role of the actor and his/her model of acting for the screen, from a theatrical perspective. Starting with the System created by Konstantin Stanislavski, I establish a trajectory of appropriations, contemplating primarily the researches of Soviet filmmakers Lev Kuleshov, Sergei Eisenstein and Vsevolod Pudovkin. Then, I analyze the arrival of Stanislavski\'s ideas at the United States, and how they influenced both American theater and cinema. The creation of the Actors Studio and the formulation of the American Method of acting will be approached mainly through Elia Kazan and Lee Strasberg\'s ideas. Finally, in Brazil, I analyze the project Prêt-à-Porter (1998 - 2011), created by Antunes Filho, which influenced the formation of a whole generation of actors also present in contemporary film production. Thus, I highlight some procedures that highly contributed to the creative process of actors, from the stage to the screen.

Laura Linney has an extensive education and experience in performance, which has influenced her to create a well-defined methodology when she approaches new roles. She uses a dialectical approach to performance. This approach has two parts as she outlined in a personal interview: phase one is her research, education, understanding of the script, and previous experiences working together to create a character, while phase two is her release of control over the character and the opportunity for the text (film or otherwise) and role to take on their own distinct personalities. This means that Linney eventually gives up agency over her characters in order for them to be effective and successful in the whole of a film. In effect, her characters are created by numerous influences within and outside her range of control. My intentions in this article are to prove that this dialectical methodology is prominent within all aspects of Laura Linney?s performances. In fact, I suggest that her utilization of this technique is what makes her a dynamic, effective, and unique actress. The dialectical nature of her performance techniques can be observed most effectively in specific breakthrough moments within her films. These moments exist most prominently in Linney?s films that are rooted in close character analysis like You Can Count On Me, The Savages, and the HBO mini-series John Adams. Close textual analyses of these scenes show a dramatic hiatus from the standard performance that she has used to help build a character. They show distinct differences between characters, which reinforces my point that each role is not only mandated by Linney?s creative power over her acting, but also a complete release of this control. They highlight how Linney allows herself to be directed and molded to develop deep, complex characters that work organically within the greater text of the film.

Partant du constat de l’extraordinaire pérennité de Katharine Hepburn en tant que star hollywoodienne de premier plan, ce travail se propose d’élucider les raisons de ce succès durable en examinant la réception dont l’actrice a fait l’objet aux États-Unis tout au long de sa carrière. À la croisée des star studies et des études de réception, cette étude articule analyse de sa persona (rôles interprétés à l’écran et à la scène, jeu d’actrice et image médiatique) et des traces de sa réception auprès du public états-unien (critiques de professionnels, courriers de fans, sondages, données de box-office, etc.). Grâce à une approche diachronique, les évolutions de son image et de sa réception sont réinscrites dans un contexte socio-historique en perpétuelle évolution, auquel la star a tenté de s’adapter avec plus ou moins de succès suivant les périodes. L’examen des matériaux extra-filmiques participant à la construction de son image ou témoignant de sa réception permettent d’éclairer sous un nouveau jour les performances de Hepburn, analysées dans leur dimension socio-culturelle, esthétique et actorale. Une attention particulière est portée aux dimensions de genre, de classe et de génération de sa persona. / Acknowledging the extraordinary longevity of Katharine Hepburn as a high-profile Hollywood star, this study seeks to shed light on the reasons behind this lasting success by examining her reception in the United States throughout her career. Combining both star studies and reception studies, this thesis articulates the analysis of her persona (her theater and film roles, her acting and media image) with evidence of her reception by the United States audience (critics, fan letters, polls, box-office figures, etc.). Using a diachronic approach, the evolutions of her image and its reception are incorporated within the framework of a socio-historical context in constant evolution, to which Hepburn tried to adapt with differing success depending on the period. The examination of the extra-filmic materials that contribute to her image or testify to her reception allow us to shed new light on Hepburn’s performances, analyzed from a socio-cultural, aesthetic and acting perspective. Special attention is given to the gender, class and age-related dimensions of her persona.

When portraying a character in a fictional world the actor is faced with many challenges. To circumvent these challenges, he must become congruent with the reality of the fictional world. In order to do so, the actor has to ‘believe’ in the circumstances of the unfolding scene and live ‘in the moment’. These external circumstances act as stimuli which the actor uses to create and consequently ‘believe’ in the environment that the character inhabits. However, the use of green screen technology in special effects limits or eliminates these stimuli and the external circumstances. Green screen is a technique used in film and television that allows the filmmaker to film an actor in combination with a green screen and then replace the ‘green’ with anything the filmmaker requires. This allows for compositing to occur and the filmed reality to be manipulated. However, this technology challenges the actor’s ‘belief’ and behaviour, thus affecting congruence with and the (photo)realism of the created fictional world. In a green screen environment the actor is challenged to imagine, experience and act in line with the circumstances of the fictional world that will replace the green screen, instead of the green environment in which he finds himself. One acting strategy that elicits imagination, action and feeling is Stanislavsky’s notion of the magic if. Accordingly, this dissertation proposes that this strategy can assist the actor in circumventing the challenges that arise when working with green screen technology. Stanislavsky developed his acting principles by observing human behaviour in an attempt to use the mind–body paradigm in circumnavigating the acting moment. The field of cognitive neuroscience has also investigated human behaviour and the mind–body paradigm and recent discoveries have increased understanding of the fields. These discoveries have validated the notion of the magic if and the components it incorporates. Yet, the discoveries surrounding the notion of the magic if and, subsequently, the increased understanding of the concept have not to date been applied to acting with green screen technology. It is therefore hypothesised that, by triangulating the challenges of ‘green screen acting’, the principles of the magic if and the knowledge gained from cognitive neuroscience, an acting strategy can be developed that will assist the actor in the green screen environment and thus create verisimilitude with the fictional world. This hypothesis has led to the theoretical development of explorations that will strengthen the skills the actor needs in order to apply the notion of the magic if; as well as an acting strategy to assist the actor when entering the green screen environment. / Dissertation (MA)--University of Pretoria, 2013. / gm2014 / Drama / Unrestricted