Posts filled under #acting

Where is a #man like our

Where is a #man like our @_asia_prince_jks!! NOWHERE Everything about him is #PrinceTastic!! He looks exactly like a #king waaaaah!! Miss you, love you & respect you always my dearest #Prince.. cr: https://twitter.com/sptv_hanryu/status/899768093655744512 #jangkeunsuk #jangkeunsukindia #jks #concertking #asiaprince #worldprince #bestactor #bestsinger #director #MC #composer #crishowrockumentary #humantime #adam #Voyage #zikzin #wowow #teamh #lezgo #sweet #man #fans #love #star #concert #acting #genius

Vielen Dank fr die tollen

Vielen Dank fr die tollen Bilder und das nette Gesprch! #Repost @stern "Ich bin gern der scharfe Feger" - und Mitglied der CDU. Aber was ist sie noch so? Ulrike Posche hat die Schauspielerin Sophia Thomalla (@sophiathomalla) zum Gesprch getroffen, Jonas Holthaus (@jonas_holthaus) hat sie fr uns fotografiert. Das ganze Gesprch im aktuellen stern. #stern #33 #sternmagazin #sternfotografie #sophiathomalla #interview #gesprch #fotografie #photojournalism #photography #journalism #instafashion #fashion #style #instadaily #shooting #acting #cdu #instagood #photooftheday #picoftheday #pictureoftheday #actress #eneme #tattoos

If you know anyone who ha

If you know anyone who has vitiligo and is having trouble dealing with it, or just wants to know there are others out here dealing with it on a daily.. please click the link in my bio.. the video I made gives a true insight on the things people don't see us vitiligans go through. I've been harassed and name called numerous times.. #model #headshot #acting #actor #modeling #vitiligo #vitiligopride #vitiligomodel #vitiligoactor #hollywood #potd #selfie #still #stillshot #backstagecasting #castme #castingnyc #castingworldwide #reel #videoreel #backstagecast #audition #auditions #livingwithvitiligo #winnieharlow

Hemon es el nio prodigio

Hemon es el nio prodigio de la Politica nacional. Hijo del presidente Creonte, a los 27 aos es ministro de planeamiento de una Argentina inmersa en una guerra civil con una profunda y violenta crisis social, economica y politica. Los esperamos el 7 de octubre! -- Hemon o menino prodigio da poltica nacional. Filho do presidente Creonte, aos 27 anos ministro de planejamento de uma argentina imersa em uma guerra civil atravessando uma profunda e violenta crise social, economica e politica. Esperamos a todos dia 7 de Outubro #antigona2040 #nosedetiene #antigona #teatro #actor #act #acting #actorlife #hemon #themethod #method #memoriaemotiva #argentina #bsas #tragedia #tragedy #politics #politica

Oh my! So proud!! Student

Oh my! So proud!! Students creating Peter Pan costumes and props for our whole school performance - small school putting on a show all schools should embrace the arts! What production is your school putting on? It's Peter Pan all the way @queenscliffps #queenscliffprimaryschool #queenscliff #pointlonsdale #acting #performingarts #arts #peterpan #actors #kids #mumsofgeelong #superdads #bellarinekids #geelongkids #geelong #leopold #portarlington #drysdale #oceangrove #bellarinekids #bellarine #school #learning #holistic

@matthiasschweighoefer un

@matthiasschweighoefer und @tilschweiger_official auf gemeinsamer Mission! Im Film #HotDog (Warner Bros. Pictures) gilt es, zusammen die Tochter des moldawischen Botschafters zu befreien. Ab 28. Dezember 2017 gibt es den Actionfilm von Regisseur Thorsten Knstler in unseren Kinos zu sehen! Hier gibt es den Trailer tinyurl.com/trailerhotdog Enjoy it! :) #tilschweiger #matthiasschweighfer #actionfilm #regisseur #thorstenknstler #kino #kinotrailer #movietrailer #trailerhotdog #hotdog #mission #hot #acting #warnerbros #news #kinonews #news #startv #startvschweiz #startvswitzerland #switzerland #schweiz #botschafter

An extract on #acting

In the sense of actor-character relationship, the type of theatre that uses presentational acting in the actor-audience relationship, is often associated with a performer using representational acting in their actor-character methodology. Conversely, the type of theatre that uses representational acting in the first sense is often associated with a performer using presentational acting methodology.

In every theatrical performance the manner in which each individual actor treats the audience establishes, sustains or varies a particular kind of actor-audience relationship between them. In some plays all of the actors may adopt the same attitude towards the audience (for example, the entire cast of a production of a Chekhovian drama will usually ignore the audience until the curtain call); in other plays the performers create a range of different relationships towards the audience (for example, most Shakespearean dramas have certain characters who frequently adopt a downstage platea playing position that is in direct contact with the audience, while other characters behave as if unaware of the audiences presence).

Presentational acting, in this sense, refers to a relationship that acknowledges the audience, whether directly by addressing them, or indirectly through a general attitude or specific use of language, looks, gestures or other signs that indicate that the character or actor is aware of the audience's presence. (Shakespeare's use of punning and wordplay, for example, often has this function of indirect contact.)

Representational acting, in this sense, refers to a relationship in which the audience is studiously ignored and treated as 'peeping tom' voyeurs by an actor who remains in-character and absorbed in the dramatic action. The actor behaves as if a fourth wall was present, which maintains an absolute autonomy of the dramatic fiction from the reality of the theatre. Robert Weimann argues that: Each of these theatrical practices draws upon a different register of imaginary appeal and "puissance" and each serves a different purpose of playing. While the former derives its primary strength from the immediacy of the physical act of histrionic delivery, the latter is vitally connected with the imaginary product and effect of rendering absent meanings, ideas, and images of artificial persons' thoughts and actions. But the distinction is more than epistemological and not simply a matter of poetics; rather it relates to the issue of function.

The use of these critical terms (in an almost directly opposed sense from the critical mainstream usage detailed above) to describe two different forms of the actorcharacter relationship within an actor's methodology originates from the American actor and teacher Uta Hagen. She developed this use from a far more ambiguous formulation offered by the seminal Russian theatre practitioner Konstantin Stanislavski in chapter two of his acting manual An Actor's Work (1938).

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