Actor's Work Research Articles

Exploring power strategies for transformation in a service-ecosystem

PurposeThe paper covers the topic of power strategies between actors and the interplay between the service ecosystem and the actor(s), and vice versa. The paper addresses the lack of conceptual development concerning power considerations beyond dyadic, rigid and role-based models found in general marketing literature. Further, the paper opens the area of power relationships, using the service ecosystem as conceptual framework.Design/methodology/approachThe paper has a systemic and sociological view on service-ecosystems using mainly Giddens' structuration theory. Service-dominant logic literature from 2004 to 2021 is systematically reviewed for power issues and qualitatively analyzed. Mayring's step model of, firstly, inductive and, secondly, deductive category development is applied. Subcategories were identified, subsumed and finally grouped into five categories to increase the level of abstraction.FindingsThe article investigates power considerations and enables marketers to create power through (1) imbalance, to find strategies and counterstrategies for (2) actor's behavior, to understand the (3) actor's embeddedness within a service ecosystem and its dynamic nature, to learn about (4) institutions and actor's institutional work. A set of seven propositions is presented for the conceptualization of power strategies in a service ecosystem.Research limitations/implicationsThe consideration of power on different levels supports both the zooming-in and zooming-out to observe and understand the power phenomena in a service ecosystem. Seven propositions about episodic as well as systemic power relations are presented. Power is conceptualized in service ecosystem as transformative capability of an actor to intervene on institutions and in some way alter them, recognizing that power relations are co-created, dynamic and context-dependent.Practical implicationsThe article recognizes different levels (micro-meso-macro) of power considerations and helps practitioners and marketers to create power through (1) imbalance, find strategies and counterstrategies for (2) actor's behavior, understand the (3) actor's embeddedness within a service ecosystem and its dynamic nature, learn about (4) institutions and actor's institutional work. This enables managers to find an appropriate choice of action in their specific context to transform the service ecosystem(s) they are embedded in.Social implicationsAs all social systems are power systems, a service ecosystem can only be fully understood by integrating the elementary concept of power. As such, power considerations within actor strategies and the service ecosystem are relevant to improve the understanding of transformation of the service ecosystem. Power, in the sense of the transformative capability of actors, changes the social and material world.Originality/valuePower issues are important to understand the “hows” of resource integration in service ecosystems and its transformation or stability.

ӘЛЕМГЕ ӘЙГІЛІ АКТЕРДІҢ БЕЙНЕСІН ЖАСАУ ЖОЛЫНДАҒЫ ЗАМАНАУИ ҚАЗАҚ ТЕАТРЫ (Ч. ЧАПЛИН ҚОЙЫЛЫМЫНЫҢ МЫСАЛЫНДА)

The article analyzes the first performances on the Kazakh stage of the world-famous image of Charlie Chaplin, the course of the production, features, ways of creating the image. The events that influenced the transformation of a personality into a "cult figure", an actor who began in his life, an autobiography left by the author, interviews with colleagues, wives and scientific articles about the actor were analyzed. During the production, problems, difficulties, familiarity of the theater troupe with a previously unknown work process, the specifics of the style of work from other invited directors were touched upon. From the research conducted about the actor, we know that the innovations introduced by the actor into the film industry have not yet lost their relevance, the image of the "Little Tramp" proposed by the author has caused the appearance of still popular funny images. Through the events that influenced and influenced the actor's work, the birth of the image of the main character of the actor "the little tramp" and the first image of Charlie Chaplin on the Kazakh stage are analyzed.

The mechanisms of the actor's work between performance and directing style in the contemporary theater show (Western) as a model

The actor has mechanisms that were applied in the performance، as it formed a style in the theatrical form (weird)، and the researcher deliberately studied these mechanisms and divided them into four chapters. The researcher divided it into two sections، the first is the actor's performance requirements، and the second is the boring performance methods in the directors' theater، and then the researcher concluded the second chapter with the most important indicators. As for the third chapter، the researcher determined the society of his research and the method of selecting the sample (strange) and analyzing the sample and concluded with the most important results of the sample analysis.

Trajectories of a research on Mindfulness and its crossings in the actor’s work

The object of my doctoral research is to discover the possible reverberations that mindfulness practices can have in the actor's work. In this article, I report on my path on implementing minsfulness practices with actors in the classroom, addressing an experience with a group of drama students from the Federal University of Rio de Janeiro State (UNIRIO).

Rethinking the Actor's Body: Dialogues with Neuroscience by Dick McCaw

Reviewed by: Rethinking the Actor's Body: Dialogues with Neuroscience by Dick McCaw Dan Cullen Rethinking the Actor's Body: Dialogues with Neuroscience. Dick McCaw. London: Methuen, 2020; pp. 274. British acting teacher and theatre practitioner Dick McCaw's Rethinking the Actor's Body: Dialogues with Neuroscience is intended as a companion piece to his 2018 movement training manual, Training the Actor's Body: A Guide. It provides some useful insight into the theories of the body that underlie McCaw's practices and their attempt to bring the training techniques of Stanislavski and Feldenkrais—rooted in an early twentieth-century understanding of behavioral psychology—in line with contemporary understandings of neurological processes. In undertaking such a project, McCaw also places the book in dialogue with other attempts to define the relationship between the actor's work and the physical operation of the human brain such as Rhonda Blair's The Actor, Image, and Action: Acting and Cognitive Neuroscience (2008). Blair argues that there are significant gaps between the techniques actors use to create representations of action onstage and the cognitive processes that actually underlie human behavior. For Blair, those gaps are useful in creating performances that the spectator's brain can easily interpret. Conversely, McCaw contends that these gaps are not so great and that actor training should be working to bridge what remains of them. Rethinking the Actor's Body is divided into two parts. The first part is made up of four chapters in which McCaw defines "the actor's and the everyday body (which are, of course, the same thing)" and explains how he conceives of "the interrelation between brain and body" (10). These chapters rehearse well-trodden critiques from the last several decades that actor training relies on Cartesian verbiage, which incorrectly theorizes the body and mind as separate entities in a hierarchical relationship. Beyond that, McCaw's first chapter explores different possibilities for conceptions of the body and the nuances of considering it alternately as subject and object. From there, his second chapter outlines how the "everyday body" is transformed into the "actor's body" through training. He argues that the leap from the actions of simple organisms like ticks and sea slugs to the precisely rehearsed dramatic actions that actors engage in is much smaller than we might expect on account of their common basis in action with purpose informed by sensory information. Chapter three explains that the creation of the actor's body is never complete, that it is constantly in the process of converting cognitive processes into instinctual or habitual ones through practice. According to McCaw, "The ego … gets in the way of the source of creativity" (85). For McCaw and the neuroscientists, this source of creativity is the subconscious activity of the brain unhampered by cognitive oversight. McCaw suggests that this is what Stanislavski means when he describes proper acting technique as "nature working freely" (85). Readers cannot help but be reminded of similar arguments from the long nineteenth century that positioned naturalism and realism as the ultimate forms of artistic expression due to their supposed scientific accuracy. The argumentative structure of part two is less clear. It is instead more of a series of essays that seeks neurologically informed answers to some of acting theorists' classic questions: what does it mean to be "present" or to have "presence?" Does the body have a true, stable "center," or is the notion of "being centered" merely a useful metaphor? How does our mental image of our bodies correspond to the way we move through space, and can we reconstruct our way of moving by changing that image? By what process do we make emotions legible to other people, especially when so many of the symptoms of emotion (heart rate, pupil dilation, etc.) are outside our conscious control? McCaw concludes by acknowledging that being informed of the latest developments in cognitive science is unlikely to make the actor's job easier, but he hopes that his readers "think again about their own physical resources and potential, and in this act of rethinking to find new ways of doing" (224). Throughout the text, the author refers to his previously published practical guide as a...

A questão das emoções e da vivência estética: o diálogo entre Vigotski e Stanislávski em torno da psicologia do ator

Abstract The paper examines the occurrences of the perezhivanie concept in Vygotsky’s texts about art, particularly the essay on Hamlet, written in 1915, The Psychology of Art, written in 1925, and the book chapter Aesthetic Education, published in Educational Psychology in 1926. Then, the paper focuses on the text "On the problem of the psychology of the actor's creative work," aiming to understand how Vygotsky critically analyses the ideas of Denis Diderot and Konstantin Stanislavsky to propose his original outlook on the psychology of the actor's scenic perezhivanie. The paper seeks to contextualize the 1932 text in Vygotsky's framework of interests that articulate theatrical art and the study of emotions against the background of previous writings.

Theater of Ancestral Mediation

Theater of Ancestral Mediation

Structuring the benchmarks of artistic and creative motivation for creating a stage image of a role by an actor in a drama theatre

The purpose of the article. Determination of the structure of the main guidelines of artistic and creative motivation in the process of creating a stage image of a role by an actor in a drama theatre. The research methodology consists of the use of systemic, art history, analytical, structural, and functional methods of researching the main guidelines in organizing the creative process of transforming the performer of the role actor into a certain stage image in accordance with the subject of his creative activity in the theatrical production, which is directly represented by the character of the dramatic work. Research novelty. For the first time, the structuring of the conceptual and categorical basis of guidelines for artistic and creative motivation of professional requirements for creating a stage image by an actor in a drama theatre has been carried out. Conclusions. At present, the fundamental scientific-theoretical method of consistency in building the structuring of the process of an actor's work on a stage image, apart from Stanislavsky's orientation system, has not been developed. For the better or not, is a controversial issue, because the creative search for a more effective and universal basis for acting is taking place in modern creative laboratories of theatre artists. So, the process of inventing new original artistic techniques for a stage play, figurative motivations, and the interpretation of a character in a dramatic form remains an incompletely resolved problem for stage artists.
 Key words: theatre, actor, acting, stage image, character, role, character.

Stage word in the Ivan Franko theater in the context of the historical and cultural process

The purpose of the article of the work is to highlight the stages of evolution of the Ukrainian scenic word in the Ivan Franko Theater in the context of the historical and cultural process from the 1920s to the present and to analyze the features of the artistic direction "socialist realism" and his influence on the scenic word. The research methodology consists in using the method of historical retrospection to analyze the scenic word in the acting works of the Ivan Franko’s Theater from the 1920s till the presenttimes; the culturological method is used to study the influence of state ideology on the socio-cultural environment through the scenic word; the using of the art-historical method makes it possible to analyze the creative work of directors in certain cultural and political realities. The scientific novelty lies in a comprehensive study of the main stages of the evolution of the scenic word in the Ivan Franko Theater during its existence on the example of acting works in dramatic and musical performances, as well as in studying the influence of the domestic historical and cultural process on the scenic word. Conclusions. The artistic policy of G. Yura at the Ivan Franko Theater in the first decades of its existence. is examined. The influence of the ideology of the communist party on the domestic theatrical process is revealed. The peculiarities of artistic direction "socialistic realism" and its influence on the scenic word at Ivan Franko Theatre on the example of actor's work were analyzed. The article considers the scenic word in the musical performances at the Ivan Franko theater in the context of historical and cultural processes.
 Keywords: scenic word, culture, ideology, socialist realism, Ivan Franko theatre, G. Yura, musical, rock opera

Pro testamentum. О методологии искусства актера и режиссера

The modern methodology of acting and directing art is the Stanislavsky system. Directing according to this system is straightly linked with a vast knowledge of the methodology of the actor's work in the performance. Modern directing often neglects the acting methodology and, therefore, is not capable of creating a true “Life of Human Spirit” on stage. This is the main goal of Stanislavsky an d Nemirovich-Danchenko teaching process. This is the base on which modern theatrical pedagogy of directing and acting skill in Russia is built. Any performance can become a ghostly scheme of life if not taking into the account special work with an actor according to Stanislavsky's methodology. And thus the actor’s art is bled to death. Then the actor becomes just a function, a sign; there is no living person on the stage, no inner spiritual life. It is not worth talking about the true transmission of human relations, which is the main artistic and ideological goal of the stage performance creators.

Foreign accent as a means of creating the language features of a character

The purpose of the article is to identify the peculiarities of the actor's linguistic characterization using a foreign accent in the process of working on the role and to establish the dependence of the actor's ideas about the character's personal characteristics and social status on the degree of accent color. The methodology of researching a foreign accent as a means of creating a linguistic characteristic of a character is complex. The method of theoretical-conceptual and theoretical-linguistic analysis of special literature on accent issues, features of comparison of intonation systems of different languages are applied; typological method and method of system analysis, which contributed to the study of acting tools in the process of working on the linguistic characteristics of the character, etc. Scientific novelty. The foreign language accent in the context of the specifics of the actor's work on the creation of the image is studied; it is stated that the actor's imitation of a foreign accent involves the use of special phonetic tools with the addition of grammatical and/or lexical factors in order to enhance the effect; the complexes of articulation-acoustic features inherent in the Ukrainian language with French, English, British, Italian, Estonian, Jewish and Caucasian accents, as well as the peculiarities of the actor's work on their imitation are analyzed. Conclusions. Foreign language accent as a linguistic characteristic of a character is one of the most important means of identifying his personality because a person's speech skills create an idea of ​​the environment to which he belongs, can provide information about his origin. In stage speech, a foreign accent is used to give the character's language a sharp character, vivid imagery, and truthfulness and realism of his behavior - the accent is part of the character's "I", a familiar form of expression related to national and family life. Foreign accent, as well as the territorial type of pronunciation, is perceived by the viewer stereotypically and is an indicator not only of personal characteristics, but also a marker of his social status, and its level is associated with education, intelligence, leadership, and self-confidence. The actor’s strategies for developing foreign accents in the process of working on the linguistic characteristics of the character are to use appropriate deviations from the phonetic, lexical, and grammatical norms of the Ukrainian language.
 Keywords: stage speech, foreign accent, actor, artistic image, character, linguistic characteristic.

Means of speech characteristics of the stage image in the context of decoding the signal space contemporary performances

The purpose of the article is to identify the features of speech characteristics in the context of the disclosure of the plot-content aspect of the performance of postmodern aesthetics. Methodology. A typological and systematic method is used to study the creative mechanisms of the actor's creation of the speech characteristic of the image in the context of the peculiarities of the aesthetics of postmodernism; cognitive method, thanks to which theoretical positions in the field of language psychology and speech therapy are extrapolated to the field of theatrical art; method oftheoretical generalization, etc. Scientific novelty. The influence of postmodernist theater tendencies on the process of the actor's voice work on the creation of the image – the development and implementation of speech features of the character; the peculiarities of the process of decoding the sign system of a modern production on the basis of the interpretation of the speech characteristic of the images created by the actors are analyzed. Conclusions. The verbal characteristic of the image contributes to the actor's representation of certain internal characteristics of the character, his emotional state, deep reaction to events and/or actions of other characters, changes in lifestyle and worldview, etc., and in the context of postmodern aesthetics, when stage texts double coding" – a complex phenomenon of postmodernism, artistic and aesthetic means of which in theatrical art is a synthesis of different languages and codes of literature and philosophy in a holistic hypertext of performance, contribute to the understanding and comprehension of semantic aspects of theatrical production. The actor's use of elements of speech characteristic contributes to the expansion of his professional speech competence, the diversity of speech sound of the stage word. The components of speech characteristics can act as expressive means that reveal important aspects of the character; the necessary form of revealing the internal content of the stage image; an important element of the psychophysical structure of the role; an artistic technique that enhances the expressive possibilities of the stage word, and, accordingly, helps to form verbal symbolic means of expressing the artistic meanings of the performance. In our opinion, for the organic process of forming the stage image in general and the speech characteristics of the character in particular, the actor must not only expand his attention, observation, and ability to understand and comprehend the psychological and social causes of human behavior, but also deepen knowledge of psycholinguistics and speech therapy. Because only the organic combination of these factors contributes to the design of optimal stage speech, which corresponds to the concept of each specific performance.

СЦЕНІЧНІ АДАПТАЦІЇ МАСОК РІЗНИХ ЕПОХ У РЕЖИСЕРСЬКИХ ПОШУКАХ ПЕРШОЇ ТРЕТИНИ ХХ ст.

The purpose of the article is to analyse the concept of the universal actor and highlight fragments of the stage adaptation of masks from different eras in the works of the leading directors of the first third of the 20th century – Ye. Vakhtanhov, G. Craig, Les Kurbas, Vs. Meyerhold, A. Tairov. Research Methodology. Historical, comparative and phenomenological methods were used in the process of revealing of the goals set by this article. An important methodological basis of the research was the theory of frames by M. Minsky. Various national theatres, such as the Italian commedia dell’arte, the French fair comedy, the East Slavic Christmas vertep, etc., are distinguished by frames of the stage mask, which have been modified and transformed during the history. The scientific novelty of this study is to reveal the universal formative properties of the theatre mask; it has been demonstrated that mask techniques are the basic tool of the actor's work, and the use of models (frames) of the masks of different historical periods allows directors to model new cultural paradigms, produce stage versions that meet the requirements of the time. Conclusions. In the first third of the twentieth century, various modifications of masks were quite often the dominant means of acting expression, mechanisms for inventing a new figurative language and a form of communication with the public. In the practice of Ye. Vakhtanhov, Les Kurbas, Vs. Meyerhold, A. Tairov the most striking were the stage adaptations of commedia dell’arte masks, which enhanced the effect of the cheerful element and satirical sound of the plays “Balahanchik” (1906), “Woe to the Liar” (1918), “Princess Brambilla” (1920), “Princess Turandot” (1922).

(Toward) A Phenomenology of Acting by Phillip Zarrilli

Reviewed by: (Toward) A Phenomenology of Acting by Phillip Zarrilli Stanton B. Garner Jr. (TOWARD) A PHENOMENOLOGY OF ACTING. By Phillip Zarrilli. Abingdon, UK: Routledge, 2019; pp. 304. As an actor, teacher, director, and performance ethnologist, Phillip Zarrilli left an indelible mark on intercultural performance studies. His final monograph, (toward) a phenomenology of acting, underscores his contributions as an acting theorist. Building on his earlier study Psychophysical Acting: An Intercultural Approach after Stanislavsky (2009), this impressive book extends Zarrilli's investigation of embodied performance by developing and refining its theoretical frameworks. Bringing together phenomenology, enaction theory, and the insights of Asian martial arts and meditative traditions, these frameworks are as intercultural as the theatrical projects that Zarrilli uses to illustrate his acting method. The book is equal parts theoretical treatise and practical guide for the actor or director who wants to mine the experiential possibilities of the theatrical present. Its goal, in Zarrilli's words, is to understand acting "as a dynamic, embodied/ enactive psychophysical phenomenon and process by means of which a (theatrical) world is made available at the moment of its appearance/experience for both actors and audience" (12). How, he asks, do awareness, intention, and action arise and shape themselves in the here-and-now of performance, and how can an understanding of this process deepen the actor's performance work? At the center of Zarrilli's performance phenomenology is the "bodymind," an embodied, non-dualistic awareness of experience as it unfolds in time and space. The book's early chapters discuss this awareness and the training regimen that Zarrilli developed to cultivate it in his actors. Using meditation and movement exercises drawn from the Kerala (Indian) martial art kalarippayattu, hatha yoga, and the Chinese martial art taiqiquan, actors training in his psychophysical method practice following the breath, which embodies qi (or ki), the vital principle in Chinese medicine that originates in the energy center (dantian) located in the lower-mid abdomen. Posture and movement training expand the actors' sensory perception beyond the visual while helping them develop three-dimensional awareness of their surroundings. Optimally, this sensory-kinesthetic work cultivates responsiveness, preparedness, and an openness to discovery in the performance moment. Much of Zarrilli's discussion in these chapters concerns the actor's relation to the performance score, "the repeatable structure or sequence of actions/reactions which guide an actor's performance" (34). Through extensive rehearsal, the actor internalizes this score so that she can adopt a state of unknowingness when carrying it out in performance. Instead of pre-rehearsal script analysis, where directors and actors discuss the background and psychological motivation of their characters, Zarrilli and his actors explore the moment-by-moment dynamics of awareness, sensation, and action within the score as a whole. As the book's later chapters argue, the embodied, pre-reflexive, and intersubjective field that is foregrounded by psychophysical training has implications for other elements of the actor's work. Imagination and image-work, for instance, are no longer limited to mental pictures, but expand to include kinesthetic and other sensory modes of engaging imaginary worlds. What does it mean to be alone yet constantly to imagine the presence of another, like the two figures in Zarrilli's co-created performance piece Told by the Wind (2010), who share the stage but are otherwise unaware of each other? Language and verbal performance are similarly reembodied when actors redirect attention from what words say to how they arise and vibrate within the voicing body. This verbal awareness extends to the interactional dynamics in performance when actors inhabit each other's words through mindful listening. In the rehearsals for his 2017 production of Beckett's Footfalls in Costa Rica, for example, the actors playing May and Voice silently voiced the other's lines as a way of inhabiting the intersubjective space between first, second, and third person in the text. Rehearsal accounts such as this play an important role in (toward) a phenomenology of acting. Because Zarrilli performed in many of the productions and training exercises he discusses, his phenomenological insights are generated and refined through first-person description. Some of his actors also provided valuable accounts of their experiences. This descriptive phenomenology...

K. S. Stanislavski and the physical action

Abstract We note that the physical action in the K. Stanislavski's system expresses the same meaning as the motor action in the field of Physic Education, consisting in accomplishing a task with the help of the skeletal muscles, mainly, of the physical exercise. We sense here, the link between the Stanislavski's system and the Physical Education, link that is achieved, mainly through physical exercise. And this is how, to the question “What is the first thing in the actor's work of preparing for a role?”, K. Stanislavski is in his right to assert, after a long experience of artist-researcher, that “the most appropriate and efficient procedure for preparing a role is the approach to the role with the help of physical exercise”.

Pay to Play: Booking Roles in the Post-Network Era

What people have to understand is that I have to make a lot of money, an enormous amount of money, to have a lot of money. At the end of the day I probably walk home with around 20 percent of my paycheck. Each has a whole sort of business around them.-Mark Ruffalo (qtd. in Smith)actors are the largest labor force in media production by a significant margin. There are 160,000 members of SAG-AFTRA (Screen Actors Guild Overall; SAG Contract Earnings 2002-2008; SAG Contract Earnings 2004-2010), compared to the 20,000 members of the Writers Guild of America (Young) or the 16,000 members of the Directors Guild of America (Directors Guild of America), and this number does not account for the thousands of aspirants who have yet to obtain their union cards. According to a 2015 estimate, there are 276,016 actors in Los Angeles-approximately 7 percent of the city's total population.1 Put another way, the number of actors in Los Angeles is greater than the total population of Jersey City, New Jersey.2 Acting offers the possibility of fame and fortune, but the reality of the work is that it is contingent employment-a fact that has not changed despite the tremendous boom in television production in the 2010s. Without a steady source of income, most actors are forced to look for part-time positions in other industries in order to pay the bills to sustain their creative work and dreams of stardom.Actors are the most visible workers in the media industries because unlike directors, writers, or producers, performers' work is onscreen-audiences know their faces. What we see in these performances, however, is only the glamorous and remunerated portion of their labor, which is a fraction of the work that goes into making a living as an actor. There is a battery of costly and time-consuming activities involved in booking paying work. Ideally, actors can find agents who can send them out on auditions and negotiate contracts. Finding an agent (and later a manager) involves mailing letters with headshots and resumes in the hope that someone will respond and be willing to take on the as a client. In order to get to auditions, actors also need to be mobile, which in Los Angeles means having a reliable car. Internet access is essential because Web sites provide information about roles, and email facilitates communication with agents, managers, and casting directors. There are also some aspects of an actor's work that are less intuitive: the networking process with casting directors and others is an ongoing and crucial determinant in an actor's ability to book roles. Aspiring actors must constantly meet new people and maintain their contacts-often by spending money to send updated headshots or postcards with photos and information about new work and credits. In addition to actively looking for work, performers spend a great deal of time and money honing their craft with improvisation classes, auditioning classes, voice and dance lessons, and acting classes and coaching. For working actors (as opposed to stars with the name recognition that can get a project funded), all of these steps are necessary as they try to book their next gig.Despite the large population of performers in Hollywood, the acting sub-industry has drawn comparatively little attention from media scholars. Two categories largely dominate the existing work on acting: first, those studies that position actors as bearers of meanings, and second, those that treat actors as creators of meaning. How performers arrive at the position to bear or create meaning is often overlooked. Even explorations of stars' extratextual materials tend to focus on discursive traces of the actor's work rather than the performer's labor itself. As Richard deCordova asserts, [t]he emergence of the star system involved a strict regulation of the type of knowledge produced about the actor (17). For deCordova, knowledge of actors developed in stages: acting, the picture personality, and the star-these are the three categories that define how actors are discussed and understood in popular culture. …

“To Be On Stage Means To Be Alive” Theatre Work with Education Undergraduates as a Promoter of Students’ Mental Resilience

This article forms part of a research based on the Being Onstage Interventional Program (BIP) that utilizes therapeutic theatre work with the objective of strengthening undergraduate Education students’ resilience. The working principles of BIP consist of the actor's work, group work, improvisations and repeated autobiographical performances. This article shall discuss the rationale of theoretical integration between resilience elements) and theatre work and Dramatherapy. The article includes a description of resilience. And theatrical practices like: BASIC Ph (Lahad), the Theory of Resource Conservation (Hobfoll) and Role Theory (Landy), the Theatre of Self Discovery (Emunah).

(Valuing) an Actor's Work: Growing Residuals Left Overs by Making Section 111 the Exception, Not the Rule

Looking at the importance of keeping rouge cable companies like Aereo out of business in order to keep media creators, like actors, paid for retransmissions.

Stanislavsky to Grotowski: Actor to Performer/Doer

Stanislavsky's ‘life of the human spirit’ is at the heart of his understanding of how the actor could become an organic actor rather than a player of borrowed actions and lines. In this article Maria Shevtsova explores the links between Stanislavsky's aspirations for the actor and Grotowski's ‘holy’ actor, the latter providing the impetus for a theatre of presence rather than one of presentation – one that is concerned with the embodiment of fictional bodies and souls. The notion of actor ‘training’ is re-examined in the light of Stanislavsky's practice concerning the actor's mindful and probing work on himself/herself. Grotowski's work on presence-in-action, the basis first of the performer and then of of the doer, has been a catalyst for the singer-movers of Teatr ZAR and this group's goal of spiritual journeying, shared also by its spectators. Maria Shevtsova holds the Chair in Drama and Theatre Arts at Goldsmiths, University of London. Her most recent book is the The Cambridge Introduction to Theatre Directing (co-authored, 2013). She is co-editor of New Theatre Quarterly.

Speech and Intonation Script of the Stage Image in Theoretical Understanding by Gotthold Ephraim Lessing

The article analyzes Lessing's views on speech characteristics of a stage image in the context of the enlightenment theory of mimesis. The study pays special to the thoughts of this German enlightener both to the importance of intonation modulations and the pause in the speech script of an actor as a means of creating the stage illusion of a natural human life. Keywords: imitation, natural man, feelings, actor, speech and intonation script, pause. Most studies devoted to the analysis of G.E. Lessing's theoretical heritage consider Lessing's views on the dramatic art as a derivative component of his theory of drama. However, not every expert in Lessing's works in their research addresses the thoughts of the enlightener in this regard. But those researchers who did focus on the G.E. Lessing's considerations about the actor's work believe that his findings provided significant reasons to talk not only about his contribution to the drama theory but also to the development of basic principles of actor's work, and to refer this aspect to the theory of stage art of the enlightener. For example, German researcher of Lessing's theoretical heritage Klaus Treiher considers the Hamburgische Dramaturgie as an attempt of the enlightener to investigate the possibility of the theory's applicability to the stage performance practices (Тrager, 1981, p. 19). It should be noted that Lessing has worked out the new aesthetic principles of theatrical art which were in sharp controversy with the principles of classicism and standard canons which, in his opinion, had limited the right of an artist for a realistic reflection of the realities of life, contrary to the general philosophical challenges in the 18th century. In this regard, following the new ideological and aesthetic enlightenment benchmarks, according to Lessing, the whole system of art needed reloading due to the fact that the task of art had turned into of (Lessing, 1936, p. 258), whereas the stage stylistics of the German theater has been still trammeled by the stage canons which had been borrowed from the French classicism. Lessing has emphasized that the true of nature assumed not only the imitation of natural phenomena but, above all, required a special attention to the nature of our sensations and emotional strengths (Lessing, 1936, p. 258). In the context of the enlightenment theory of mimesis by G.E. Lessing, it is important to consider his position regarding the reform of stage means of expression. The rational convention of the classicism stage tradition failed to demonstrate the natural feelings and emotions since its aesthetics had been based on of solely beautiful nature. Therefore, his demand for the refocusing of the actor's work expressions, which henceforth had to reflect the inherent nature of human behavior and feelings on the stage, clearly implied outstanding revolutionary potential. First of all, that referred to the replacement of plastic and speech6intonation script of the actor's stage behavior, in the apprehension of which Lessing was trying to find the best means of stage interpretation of the character. In this document, the is paid to Lessing's views on the speech component of the actor's work. In order to address the problem of speech features of the character as one of the basic means of expression of the dramatic character, Lessing was analyzing the dramatic talent of Sophie Friederike Hensel who was a principal actress of the Hamburg Theater. G.E. Lessing thought that the extremely true delivery of the dramatic text and the absence of false intonations, indicating the mastery of words and high speech culture, was a remarkable feature of the actress's talent. Paying special to that acting art of S. F. Hensel, G.E. Lessing wrote: she is able to speak the