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Both in the performative arts and in emotion research, professional actors are assumed to be capable of delivering emotions comparable to spontaneous emotional expressions. This study examines the effects of acting training on vocal emotion depiction and recognition. We predicted that professional actors express emotions in a more realistic fashion than non-professional actors. However, professional acting training may lead to a particular speech pattern; this might account for vocal expressions by actors that are less comparable to authentic samples than the ones by non-professional actors. We compared 80 emotional speech tokens from radio interviews with 80 re-enactments by professional and inexperienced actors, respectively. We analyzed recognition accuracies for emotion and authenticity ratings and compared the acoustic structure of the speech tokens. Both play-acted conditions yielded similar recognition accuracies and possessed more variable pitch contours than the spontaneous recordings. However, professional actors exhibited signs of different articulation patterns compared to non-trained speakers. Our results indicate that for emotion research, emotional expressions by professional actors are not better suited than those from non-actors.

François de Curel has gone down to posterity as an author of the “well-made play”. However, while studying his work, in this case, La Danse devant le miroir (The Dance in Front of the Mirror), we realize that the writer does not respect all the rules of dramatic art. In fact, the writer seems, in the first place, to call into question the fable of the canonical form which is built on a logical mechanism of action leading through ever-increasing tension to the final denouement. The classical composition fades into the play behind the evocation of  the protagonists’ emotional states in the grip of existential anxiety and, therefore, we note the passage from an agonistic drama to an ontological drama. The work of undermining the “absolute drama” is also manifested by a new approach to the character. Deprived of his active attributes, he prefers to call into question his life, rehash his setbacks rather than act. The character in action is giving way to the character in reflection.

Based on interviews with over forty award-winning artists, How to Rehearse a Play offers multiple solutions to the challenges that directors face from first rehearsal to opening night. The book provides a wealth of information on how to run a rehearsal room, suggesting different paths and encouraging directors to shape their own process. It is divided into four sections: lessons from the past: a brief survey of influential directors, including Stanislavski’s acting methods and Anne Bogart’s theories on movement; a survey of current practices: practical advice on launching a process, analyzing scripts, crafting staging, detailing scene work, collaborating in technical rehearsals and previews, and opening the play to the public; rehearsing without a script: suggestions, advice, and exercises for devising plays through collaborative company creation; rehearsal workbook: prompts and exercises to help directors discover their own process. How to Rehearse a Play is the perfect guide for any artist leading their first rehearsal, heading to graduate school for intense study, or just looking for ways to refresh and reinvigorate their artistry.

Building on both cognitive semantics and enactivist approaches to cognition, we explore the concept of enactive metaphor and its implications for learning. Enactive approaches to cognition involve the idea that online sensory-motor and affective processes shape the way the perceiver-thinker experiences the world and interacts with others. Specifically, we argue for an approach to learning through whole-body engagement in a way that employs enactive metaphors. We summarize recent empirical studies that show enactive metaphors and whole-body involvement in virtual and mixed reality environments support and improve learning.

Staging Sex lays out a comprehensive, practical solution for staging intimacy, nudity, and sexual violence. This book takes theatre practitioners step-by-step through the best practices, tools, and techniques for crafting effective theatrical intimacy. After an overview of the challenges directors face when staging theatrical intimacy, Staging Sex offers practical solutions and exercises, provides a system for establishing and discussing boundaries, and suggests efficient and effective language for staging intimacy and sexual violence. It also addresses production and classroom specific concerns and provides guidance for creating a culture of consent in any company or department. Written for directors, choreographers, movement coaches, stage managers, production managers, professional actors, and students of acting courses, Staging Sex is an essential tool for theatre practitioners who encounter theatrical intimacy or instructional touch, whether in rehearsal or in the classroom.

'Scrupulously compiled and skillfully translated by Andrei Malaev-Babel, The Vakhtangov Sourcebook ... provides the most comprehensive addition to English readers' knowledge of the philosophy, pedagogy, and legacy of Vakhtangov.' - Modern Language Review 'An exceptionally valuable book that promises to be the definitive reference for Vakhtangov's work for years to come.' - Theatre Topics Yevgeny Vakhtangov was the creator of Fantastic Realism, credited with reconciling Meyerhold's bold experiments with Stanislavski's naturalist technique. The Vakhtangov Sourcebook compiles new translations of his key writings on the art of theatre, making it the primary source of first hand material on this master of theatre in the English speaking world. Vakhtangov's essays and articles are accompanied by: Diary and Notebook excerpts His lectures to the Vakhtangov Studio In-depth accounts of Vakhtangov methods in rehearsal Production photographs and sketches Extensive bibliographies Director's notes on key performances An extensive introductory overview from editor Andrei Malaev-Babel explains Vakhtangov's creative life, his groundbreaking theatrical concepts and influential directorial works.

An introduction to the study and application of performance art through phenomenology for radical artists, educators and practitioner-researchers. Features exercises to activate your practice, clear introductory definitions to key phenomenological terms, and a multimodal design that lets the reader choose how to read the book. 36 illus.

This chapter contains sections titled: Notes

The Lee Strasberg Notes reproduces the original teachings of a unique voice in actor training, for the very first time. It is a stunning document in the history and ongoing practice of Strasberg’s Method. Compiled and edited by Lola Cohen, the book is based on unpublished transcripts of Strasberg’s own classes on acting, directing and Shakespeare. It recreates his theoretical approach, as well as the practical exercises used by his students, and brilliantly conveys his approach and personality. The book features Strasberg’s teachings on: • Training and exercises • Characters and scenes • Directing and the Method • Shakespeare and Stanislavski • The theater, acting and actors. Including a Preface by Anna Strasberg and a Foreword by Martin Sheen, this illuminating book brings the reader closer to Strasberg’s own methods than any other, making it a phenomenal resource for students, actors, and directors. Lola Cohen has taught acting for over twenty years at the Lee Strasberg Theater and Film Institute and NYU's Tisch School of the Arts Acting Program. As an actor she made her film debut in Renaldo and Clara in 1975, directed by Bob Dylan. She was SUNY - Ulster Artist in Residence in 2009. \"For the actor, The Lee Strasberg Notes are an indispensable companion.\" –Johnny Depp \"I always think upon Lee Strasberg with warmth, and reviewing his wisdom is a pleasure.\" –Francis Ford Coppola \"Reading The Lee Strasberg Notes re-kindled the first rush of excitement I felt about the possibilities of Acting. If you are an Actor—buy it.\" –Ralph Fiennes