Researchers and practitioners have long been intrigued by the role of stars in the film industry (McDonald 2005). Actors with star status can enhance the economic prospects of a film (Wallace et al. 1993). For instance, replacing average stars with top stars has been shown to increase revenue (Nelson, Glotfelty 2012). A meta-analysis of 61 studies collating data from 1545 films has shown the significant effect of commercial star power on Hollywood films’ revenues (Hofmann, et al. 2017). The Hollywood movie industry can be viewed as a system that maintains and regulates the popularity of existing and emerging stars through agents, producers and award systems (McDonald 2013).
A fundamental question for the study of everything, including of the scenic movement in theatre. A necessary question in any artistic endeavour and nonetheless, continuously endangered by the pressure of information, of the speed of technology, of the necessity of the NOW, the god of the time of globalization and consumer age. What we are aiming at in our applied studies of theatre anthropology, would be the discovery of a line of personal expression distinguishable in the art of theatre representation, which could be subsequently returned to and cultivated by the actor at various levels of artistic maturity. Memory, training and attention allow us to eliminate samples of stage movement and thinking. Memory helps us in the appropriation of skills and knowledge in our work. It helps us change at any time the manner of thinking, in order to become more aware. At the end of the day, in the absence of subjective memory, it becomes impossible to move being aware in the time and space of our own lives...
Miruna Runcan’s book fills a still empty space of the specialized literature and, at the same time, it is the fruit of the research of a mind constantly concerned with the status of criticism in Romania, the meanders of a long process with stagnation and with episodes of boost in the pre- and post-decembrist panorama. The complex study that appeared at Tracus Arte Publishing House, this year, sits on the shelf of the library between the author’s previous titles, completing (and probably to be continued) the poliform portrait, viewed from the inside and outside, of the critical commentary in our theatre areal.
The contemporary human is in an eternal transformation, in an unending metamorphosis, he or she projects his/her life and his/her own image in countless fictitious games, plays roles in imagined situations. He/she, though using false conscious representations, will obtain the right results because he/she operates with his/her creations or fictions as if they were real realities. This is social creativity. If all these are real-life defence elements, fireworks that help the individual to anticipate certain situations, to figure the effects of certain volitional impulses, to communicate and to act freely within the scenic arts, the artistic creativity involves a paradoxical relationship between creative freedom and rigorous laws. Artistic creativity is part of the artist/actor’s ability to produce ideas, new and original solutions, appropriate to the given problems and circumstances, being a first step in the innovation process. Thus, both creative imagination and artistic creativity become original components in the creation process and implicitly in the contemporary performing arts.
The aim of this article is to research the meaning of the presence in the play Measure for Measure by William Shakespeare of a character which apparently doesn’t fulfill any dramatic function. Although the drunkard Barnardine seems to be brought into the scene in order to make possible the salvation of Claudio, the brother of the main feminine character, through the dramatic mechanism of replacing one man sentenced to death with another, Shakespeare surprisingly quits this solution. Barnardine is spared because he has strongly drunk all night long and, as a consequence, he doesn’t feel prepared to die. In this manner, this minor character approaches, during only one page of text, some fundamental themes of Shakespearian writing: preparation for death, and sleep and inebriation as paradoxal states of the conscience. Barnardine floats in three dimensions: inebriation, dream, and reality. This state of chiaroscuro of the conscience reveals the negative of the being, it opens the gate to the realm of the shadow. In this state, Barnardine chooses not to die and the Duke, the demiurge of the play, spares his life. Barnardine exists in a dimension where the laws of the real loosen their rigidity and death can be an option, not a necessity.
As a system of signs or of signifying practices aimed at engaging with another system of signs and of signifying practices, the one belonging to the stage, the performance text found its postdramatic equivalent in visual dramaturgy. The critical attention is directed at the image or at the perceived relationship between body, space, sound, light and objects. The mission of visual dramaturgy is represented by the association between the viewer and what is being viewed, the semiotics of the visual, post-narratology, the phenomenology of the body or of the gaze, serving a single aim: organising the action in order to have it performed.
The present paper aims to present the role of rhythm and its modelling aspects in the education of acting students, based on practical and theoretical research in the field of theatre and pedagogy. After analyzing the actual situation of performances in which the balance between text and movement has been overthrown, the birth of an essential factor in the formation of the actor is triggered: they must acquire a body of theoretical and especially practical knowledge regarding the rhythmic language that plays an important role in building a character.
Theatre as an institution and form of contemporary art encourages freedom and creativity, attracts free spirits and visions and it should be a physical and spiritual space in which you can find and express your identity at the same time. If in the state system decisions on the budget are taken at a political level and those on the repertoire have to take into account a whole organizational scheme and a large audience, in the independent space, tolerance, acceptance of differences, encouragement of minorities of any kind to express themselves through art, as long as there are talent and ideas that can be transposed in a scenic way, the debate of the taboo subjects for the society should be a priority. Even if financially the independent artists are working on truly desirable projects and with funding that sometimes comes from the state, the constraints that are reflected on the final product are not as large as in the state system, there is no repertoire to be respected. Of course, the productions in the independent environment have to attract audiences, but performances and experiments are getting faster to the public. In Romania, political theatre, community theatre, the theatre that militates for important causes needs courageous artists, artists who use their imagination, their creativity, their critical voice for causes that few believe in. The intimacy that independent spaces can offer to the artists and to the public to create a bond and to reveal their existential fears, aesthetical and ethical principles to which they adhere, makes these spaces a fertile ground for original artistic projects such as Giuvlipen.
The academic polemics I’ve been having with Alice Florentin, my Doctoral student, regarding the ideal method for training acting/choreography students, necessary for them to approach dance theatre, brought us (once more) to the shadows of the demons that surrounded Teibele (and us too, perhaps), the contrasts of Salome’s world, the fascination of The Tropical Tree, the turmoil of the Love Stories, the unrest and fears haunting The Cherry Orchard and… the inventory of emotions could go on (beyond them, any approach would be useless). We wondered: “What is the secret? How does Alexander Hausvater succeed in determining the actors he works with to search/discover the giant within, to renounce their crippling fears and the numbness of the everyday? What are the steps the actors take to find themselves?” We knew some things about the (probably defining) periods of physical and vocal training, but we wanted to find out… the truth. Caught in the cage of the rigours of academic research, we dared and tried.