User:Abibatoudia/sandbox

Acting is an activity in which a story is told by means of its performance by an actor or actress who adopts a character—in theatre, television, film, radio, or any other way that makes use of the mimetic mode (the art of imitation) Find source.

Acting involves a broad range of skills, including a well-developed imagination, emotional facility (different emotional state), physical expressiveness (express emotions through physicality), vocal projection (strength of speaking disgustingly loud and clear), clarity of speech , and the ability to interpret drama. Acting also demands an ability to use different intonation, pronunciation and different form of languages,dialects, accents, improvisation, observation and emulation, mime, and stage combat. Many actors train at length in specialist programmes or colleges to develop these skills. The vast majority of professional actors have undergone extensive training. Actors and actresses will often have many instructors and teachers for a full range of training involving singing, scene-work, audition techniques, and acting for camera.

Most early sources in the West that examine the art of acting (Greek: ὑπόκρισις, hypokrisis) discuss it as part of rhetoric.

History of acting[edit]
Main article: History of theatre

The first actor[edit]
The origins of drama are found in Athens. Tthe ancient hymns also called dithyrambs were sung to honor God Dionysus. These hymns were later used for choral processions where members would dress up wearing masks and costumes. Eventually,members of the chorus develop gradually special roles within the procession but were not qualified as actors. That evolvement started later in the 6th century BC, when the tyrant Pisistratus, rulers of the city, created a series of new public festivals. The "city of Dionysia" is one of the festival of entertainment held in honor of the God Dionysus, with music competition, singing, dance and poetry. The most remarkable of all winners was said to be a wandering bard called Thespis. Iin 534or 535BC, thespis amazed the audiences by jumping on the back of a wooden cart and read aloud poetry as her was the character reading the lines. Therefore, Thespis become the world's first actor. Athens One of the first known actors is believed to have been an ancient Greek called Thespis of Icaria. Writing two centuries after the event, Aristotle in his Poetics ( c.  335 BCE) suggests that Thespis stepped out of the dithyrambic chorus and addressed it as a separate character. Before Thespis, the chorus narrated (for example, "Dionysus did this, Dionysus said that"). When Thespis stepped out from the chorus, he spoke as if he was the character (for example, "I am Dionysus, I did this"). To distinguish between these different modes of storytelling—enactment and narration—Aristotle uses the terms "mimesis" (via enactment) and "diegesis" (via narration). From Thespis' name derives the word "thespian".

Training[edit]
Further information: Drama school Members of the First Studio, with whom Stanislavski began to develop his 'system' of actor training, which forms the basis for most professional training in the West. Actors have different types of acting training and each techniques are different from the others. It all depends on what fits them the best, these acting methods are very convenient and reliable for future actors. The role they play in acting techniques are important and it helps to be confident.

We have many techniques, the most common and famous one are :

-Stanislavsky system

-The Meisner Technique

-Sonia' Moore technique

-Michael Chekhov Technique

Conservatories and drama schools typically offer two- to four-year training on all aspects of acting. Universities mostly offer three- to four-year programs, in which a student is often able to choose to focus on acting, whilst continuing to learn about other aspects of theatre. Schools vary in their approach, but in North America the most popular method taught derives from the 'system' of Konstantin Stanislavski, which was developed and popularized in America as method acting by Lee Strasberg, Stella Adler, Sanford Meisner, and others.

Meisner acting training consists of varieties of exercises but complementary to each other. The Meisner technique is progressive method of set improvisations where actors develop a certain concentration and imagination to get to the true identity of the character. To Meinsner, to be a great actor is to develop great instincts and be able to respond to imaginary circumstances truthfully with emotions. Meisner method of study is prominent because it help actors unleash their talents and to grow as an actor and be the best version of himself. By improvising using emotions, truth to any given circumstances, the actor is resonating genuinely.

Sonia’s book of acting techniques was inspired by Stanislavsky methods of teaching acting. It explained in details every methods that an actor in training strives to adapt to portray a character given and make a realistic interpretation of the character. This technique was designed to improve the skill of an actor, and increase personal responsiveness. The Stanislavsky is the most influential method of acting. This method encourage actors to put their imagination and emotions in actions by just embodying the character.

The First Six Lessons, by Stanisvasky presents a wide view about the art of acting. It consists of six dialogues between a teacher and a student. These lessons are centered around dramatic action, characterization, concentration, memory of emotion, observation and rhythm. These lessons are the different steps the actor has to face. This technique is very beneficial to actors because it guides you step by step with specific details on how to proceed as an actor and onstage. T Stanislavsky technique is useful and reliable to any students persuading an acting career. Each lesson is explained in dialogue form and it also show the philosophy of Boleslavsky in the theater field.

Michael Chekhov’s technique theory stated why is it essential and practical to achieve performance using embodied cognition while acting. Some of the goals focused on how to apply psycho-physical skills to connect your mind and body, how to create a particular character onstage, and also show the actors expertise, technique and imagination. Chekhov’s theory can be used  as a technique to learn and eventually improved actor's skills.

Other approaches may include a more physically based orientation, such as that promoted by theatre practitioners as diverse as Anne Bogart, Jacques Lecoq, Jerzy Grotowski, or Vsevolod Meyerhold. Classes may also include psychotechnique, mask work, physical theatre, improvisation, and acting for camera.

Regardless of a school's approach, students should expect intensive training in textual interpretation, voice, and movement. Applications to drama programmes and conservatories usually involve extensive auditions. Anybody over the age of 18 can usually apply. Training may also start at a very young age. Acting classes and professional schools targeted at under-18s are widespread. These classes introduce young actors to different aspects of acting and theatre, including scene study.

Increased training and exposure to public speaking allows humans to maintain calmer and more relaxed physiologically. By measuring a public speaker's heart rate maybe one of the easiest ways to judge shifts in stress as the heart rate increases with anxiety. As actors increase performances, heart rate and other evidence of stress can decrease. This is very important in training for actors, as adaptive strategies gained from increased exposure to public speaking can regulate implicit and explicit anxiety. By attending an institution with a specialization in acting, increased opportunity to act will lead to more relaxed physiology and decrease in stress and its effects on the body. These effects can vary from hormonal to cognitive health that can impact quality of life and performance

Improvisation[edit]
Further information: Improvisational theatre and Devised theatre Two masked characters from the commedia dell'arte, whose "lazzi" involved a significant degree of improvisation.

Commedia dell'arte was the the first troupe seen as official actor and acting as a legitimate profession in 1545.In 1566, women were introduced to the stage of acting. Commedia dell'arte troupe II Gelosi was the first appearance documented a woman on stage by Vincenza Armani, an actress. Commedia dell'arte inspired great poets, such as Shakespeare who composed The comedy of Erroes, Twelfth Night, Tamin of the Shrew, Midsummer Night's Dream. Commedia Dell'arte is an Italian Renaissance style that uses maskscovering the face. Commedia Dell'arte sarted it in 16th century and eventually grew and became the most influential theatre styles in the world.

Some classical forms of acting involve a substantial element of improvised performance. Most notable is its use by the troupes of the commedia dell'arte, a form of masked comedy that originated in Italy.

Improvisation is an important tool feature of Commedia Dell'arte. Commedia Dell'arte (Comedy of professional artists) was a form a improvisational theater that started in 16th century and became popular i the 18th century. Travelling players would create outdoor stage and provide amusements such as acrobatics and many more humorous plays based on a repertoire of created characters with a storyline. Some travelling toupes will perform in the back of their wagon called Carro di Tespi, a sort of travelling theater. The performances were purelu improvised around a set of different conventional situations such as adultery, jealousy, old age, love. Some of the performances can be dated back to the Roman comedies of Plautus and Terence. The dialogue and the act could be made comtemporary and modify to mock local scandals. Characters were identified by masks, costumes, and props such as the "Slaptick." "slaptick is a humorous style of comedy filled with arces and a touch of animated violence. Commedia dell arte is about death and resurrection and the story is always told in a festive context. Centuries ago,the end of the play was even told in the prolog, the ritual elements are important for the story, those justify the actual performance as a whole. The improvisation provided a principal theatrical interest

Improvisation as an approach to acting formed an important part of the Russian theatre practitioner Konstantin Stanislavski's 'system' of actor training, which he developed from the 1910s onwards. Late in 1910, the playwright Maxim Gorky invited Stanislavski to join him in Capri, where they discussed training and Stanislavski's emerging "grammar" of acting. Inspired by a popular theatre performance in Naples that utilised the techniques of the commedia dell'arte, Gorky suggested that they form a company, modelled on the medieval strolling players, in which a playwright and group of young actors would devise new plays together by means of improvisation. Stanislavski would develop this use of improvisation in his work with his First Studio of the Moscow Art Theatre. Stanislavski's use was extended further in the approaches to acting developed by his students, Michael Chekhov and Maria Knebel.

In the United Kingdom, the use of improvisation was pioneered by Joan Littlewood from the 1930s onwards and, later, by Keith Johnstone and Clive Barker. In the United States, it was promoted by Viola Spolin, after working with Neva Boyd at a Hull House in Chicago, Illinois (Spolin was Boyd's student from 1924 to 1927). Like the British practitioners, Spolin felt that playing games was a useful means of training actors and helped to improve an actor's performance. With improvisation, she argued, people may find expressive freedom, since they do not know how an improvised situation will turn out. Improvisation demands an open mind in order to maintain spontaneity, rather than pre-planning a response. A character is created by the actor, often without reference to a dramatic text, and a drama is developed out of the spontaneous interactions with other actors. This approach to creating new drama has been developed most substantially by the British filmmaker Mike Leigh, in films such as Secrets & Lies (1996), Vera Drake (2004), Another Year (2010), and Mr. Turner (2014).

Improvisation is also used to cover up if an actor or actress makes a mistake.

Physiological effects[edit]
Speaking or acting in front of an audience is a stressful situation, which causes an increased heart rate.

Studies show that actors are seen to be capable of delivering emotions comparable to spontaneous emotional expressions. Professional actors show more emotions in a more believable way than non-professinal actors. As a professional actor, training may lead to special speech pattern such as vocal expressions. Actor's portrayals can be strongly influenced by different emotional feelings especially when they are expressed through techniques based on their imagination. Professional actors emotional feelings are more realistic than expressions produced by other people. Specific acting styles include own feelings as part of the actors's performance; and these methods require long and repeated training and are supposed to increase and improve because they rely on inner affective states, therefore, emphasizing the convinience of using actors for creating emotional stimuli that looks like expressions in spontanuous situations.

In a 2017 study on American university students, actors of various experience levels all showed similarly elevated heart rates throughout their performances; this agrees with previous studies on professional and amateur actors' heart rates. While all actors experienced stress, causing elevated heart rate, the more experienced actors displayed less heart rate variability than the less experienced actors in the same play. The more experienced actors experienced less stress while performing, and therefore had a smaller degree of variability than the less experienced, more stressed actors. The more experienced an actor is, the more stable their heart rate will be while performing, but will still experience elevated heart rates.

Semiotics of acting[edit]
The semiotics of acting is the actor's abiity to transform himself into a convincing character in fornt of the audience. The audience don't see the actor as a performer but as the character he embodies. Once the shift happens, the actor then becomes a semiotic device communicatiing a serie of signs with the audience and telling a story. The character can be analyis differently by the audience because each audience member see the signification of the character in a multitude way. Therefore, the audience won't see the actor as just a performer but the actual character. The performance is mediated by particular semiotic signs including facial expression, emotional feelings and vocabulary. These are known as performance signs. Acting involves two diffrent forms of communication : intrascenic (between characters) and extrascenic (between characters and the audience). Both forms of communication are complementary because in order for them to work, the audience should be able to read semiotic signs of the actor's performance. Antonin Artaud compared the effect of an actor's performance on an audience in his "Theatre of Cruelty" with the way in which a snake charmer affects snakes.

The semiotics of acting involves a study of the ways in which aspects of a performance come to operate for its audience as signs. This process largely involves the production of meaning, whereby elements of an actor's performance acquire significance, both within the broader context of the dramatic action and in the relations each establishes with the real world.

Following the ideas proposed by the Surrealist theorist Antonin Artaud, however, it may also be possible to understand communication with an audience that occurs 'beneath' significance and meaning (which the semiotician Félix Guattari described as a process involving the transmission of "a-signifying signs"). In his The Theatre and its Double (1938), Artaud compared this interaction to the way in which a snake charmer communicates with a snake, a process which he identified as "mimesis"—the same term that Aristotle in his Poetics (c. 335 BCE) used to describe the mode in which drama communicates its story, by virtue of its embodiment by the actor enacting it, as distinct from "diegesis", or the way in which a narrator may describe it. These "vibrations" passing from the actor to the audience may not necessarily precipitate into significant elements as such (that is, consciously perceived "meanings"), but rather may operate by means of the circulation of "affects".

The approach to acting adopted by other theatre practitioners involve varying degrees of concern with the semiotics of acting. Konstantin Stanislavski, for example, addresses the ways in which an actor, building on what he calls the "experiencing" of a role, should also shape and adjust a performance in order to support the overall significance of the drama—a process that he calls establishing the "perspective of the role". The semiotics of acting plays a far more central role in Bertolt Brecht's epic theatre, in which an actor is concerned to bring out clearly the sociohistorical significance of behaviour and action by means of specific performance choices—a process that he describes as establishing the "not/but" element in a performed physical "gestus" within context of the play's overal "Fabel". Eugenio Barba argues that actors ought not to concern themselves with the significance of their performance behaviour; this aspect is the responsibility, he claims, of the director, who weaves the signifying elements of an actor's performance into the director's dramaturgical "montage".

The theatre semiotician Patrice Pavis, alluding to the contrast between Stanislavski's 'system' and Brecht's demonstrating performer—and, beyond that, to Denis Diderot's foundational essay on the art of acting, Paradox of the Actor (c. 1770—78)—argues that:"Acting was long seen in terms of the actor's sincerity or hypocrisy—should he believe in what he is saying and be moved by it, or should he distance himself and convey his role in a detached manner? The answer varies according to how one sees the effect to be produced in the audience and the social function of theatre."Elements of a semiotics of acting include the actor's gestures, facial expressions, intonation and other vocal qualities, rhythm, and the ways in which these aspects of an individual performance relate to the drama and the theatrical event (or film, television programme, or radio broadcast, each of which involves different semiotic systems) considered as a whole. A semiotics of acting recognises that all forms of acting involve conventions and codes by means of which performance behaviour acquires significance—including those approaches, such as Stanislvaski's or the closely related method acting developed in the United States, that offer themselves as "a natural kind of acting that can do without conventions and be received as self-evident and universal." Pavis goes on to argue that:"Any acting is based on a codified system (even if the audience does not see it as such) of behaviour and actions that are considered to be believable and realistic or artificial and theatrical. To advocate the natural, the spontaneous, and the instinctive is only to attempt to produce natural effects, governed by an ideological code that determines, at a particular historical time, and for a given audience, what is natural and believable and what is declamatory and theatrical."The conventions that govern acting in general are related to structured forms of play, which involve, in each specific experience, "rules of the game." This aspect was first explored by Johan Huizinga (in Homo Ludens, 1938) and Roger Caillois (in Man, Play and Games, 1958). Caillois, for example, distinguishes four aspects of play relevant to acting: mimesis (simulation), agon (conflict or competition), alea (chance), and illinx (vertigo, or "vertiginous psychological situations" involving the spectator's identification or catharsis). This connection with play as an activity was first proposed by Aristotle in his Poetics, in which he defines the desire to imitate in play as an essential part of being human and our first means of learning as children:"For it is an instinct of human beings, from childhood, to engage in mimesis (indeed, this distinguishes them from other animals: man is the most mimetic of all, and it is through mimesis that he develops his earliest understanding); and equally natural that everyone enjoys mimetic objects. (IV, 1448b)"This connection with play also informed the words used in English (as was the analogous case in many other European languages) for drama: the word "play" or "game" (translating the Anglo-Saxon plèga or Latin ludus) was the standard term used until William Shakespeare's time for a dramatic entertainment—just as its creator was a "play-maker" rather than a "dramatist", the person acting was known as a "player", and, when in the Elizabethan era specific buildings for acting were built, they was known as "play-houses" rather than "theatres."

Resume and Auditioning[edit]
Actors and actresses need to make a resume  when they go to auditions, similarly to when people of other occupations go into an interview. The acting resume is very different from the normal resume, it has a lot less information on it with lists, instead of paragraphs and it should have the head shot  on the back.

Auditioning is the act of performing either a monologue  or sides  the casting director either mails or emails to the actors right before their audition. Auditioning entails showing the skills the actors have to instantly turn into a completely different person within a two-minute frame period. For theater auditions it can be longer than two minutes or they can perform more than one monologue, each casting director can have different requirements for actors. For auditions, actors will have to go dressed similarly to the character they are auditioning for to make it easier for the casting director to visualize them as the character. For television or film they will have to undergo more than one audition, if the casting director chooses to put them forward into the process. Oftentimes actors are called into another audition last minute and will send them the sides either the morning of or the night before. Auditioning can be part of the stressful side to acting, especially if one is not trained to audition.

Rehearsing[edit]
Rehearsal is an essential and integral part of acting. Rehearsing is the activity that happens as preparation for the performance in music, a play or theatre, dance and any related arts. It's a form of practice to ensure that every details of the subsequent performance are adequately prepared and coordinated. A rehearsal can be done by a group of people and can only involve performers of different instruments, diffrent actors,dancers. While rehearsing, the actor is analysis the character and pay attention to the most important part of the play or movie: the relationship between the characters. The actual purpose of rehearsal is to stimulate the actor's emotions and creative side so that the actor can work well.

Audience and the actor[edit]
A critical audience with evaluative spectators is known to induce stress on actors during performance, (see Bode & Brutten) and an actor will typically rate the quality of their performance higher than their spectators. Heart rates are generally always higher during a performance with an audience when compared to rehearsal, however what's interesting is that this audience also seems to induce a higher quality of performance. Simply put, while public performances cause extremely high stress levels in actors (more so amateur ones), the stress actually improves the performance, supporting the idea of "positive stress in challenging situations"

Actors share information or experience and audiences become expressive.The audience recalls their own experiences at the same time they are watching the performance. That's a basic relationship between actors/performers and audience. An actor can really reach a wide part of the society. Actors and audience are primary and unique elements in theatre. The time and the space are the main criteria in theatre.There is physical presence between two elements where live actors present in in front of a live audiences. In theatre, there are different ways to communicate: actor to character, actor to actor, actor to audience, audience to actor and audience to audience. Ttheatre emphasis on the concept of "intimacy" and "audience participation" to develop the relationship between actor and spectator. Audiences are a vital part of the theatre practice. They assumed that they are a charcater in the play or the movie.

Heart rate while acting[edit]
Depending on what an actor is doing, his or her heart rate will vary. This is the body's way of responding to stress. Prior to a show one will see an increase in heart rate due to anxiety. While performing an actor has an increased sense of exposure which will increase performance anxiety and the associated physiological arousal, such as heart rate. Heart rates increases more during shows compared to rehearsals because of the increased pressure, which is due to the fact that a performance has a potentially greater impact on an actors career. After the show a decrease in the heart rate due to the conclusion of the stress inducing activity can be seen. Often the heart rate will return to normal after the show or performance is done; however, during the applause after the performance there is a rapid spike in heart rate. This can be seen not only in actors but also with public speaking and musicians.

Stress[edit]
There is a correlation between heart-rate and stress when actors' are performing in front of an audience. Actors claim that having an audience has no change in their stress level, but as soon as they come on stage their heart-rate rises quickly. A 2017 study done in an American University looking at actors' stress by measuring heart-rate showed individual heart-rates rose right before the performance began for those actors opening. There are many factors that can add to an actors' stress. For example, length of monologues, experience level, and actions done on stage including moving the set. Throughout the performance heart-rate rises the most before an actor is speaking. The stress and thus heart-rate of the actor then drops significantly at the end of a monologue, big action scene, or performance. This idea of getting stressed during the anticipation period for any big moment happening is applied throughout the performance. Stress, therefore, has a bigger impact on the actor's overall performance whether motivating or pressuring them to give a more proficient end performance. Acting and stress seems to be in correlation. Actors stress about everything, whether they did good on stage, or if the audience liked the performance. Actors are more likely to experience stress than the general population. Deep emotions are required to access and express when playing a character. Getting into character is not simple, it is a complex [process that cannot be separated from the life of an actor. Sometimes, it is hard for actors to supress ttheir characters emotions which can be detrimental. Actors tap into their personal life experiences to evoke the emotions required to play a role.