Acting The Right Part

Acting the Right Part is a cultural history of huaju (modern Chinese drama) from 1966 to 1996. Xiaomei Chen situates her study both in the context of Chinese literary and cultural history and in the context of comparative drama and theater, cultural studies, and critical issues relevant to national theater worldwide. Following a discussion of the marginality of modern Chinese drama in relation to other genres, periods, and cultures, early chapters focus on the dynamic relationship between theater and revolution. Chosen during the Cultural Revolution as the exclusive artistic vehicle to promote proletariat art, "model theater" raises important questions about the complex relationships between women, memory, nation/state, revolution, and visual culture. Throughout this study, Chen argues that dramatic norms inform both theatrical performance and everyday political behavior in contemporary China.

Acting the Right Part is a cultural history of huaju (modern Chinese drama) from 1966 to 1996. Xiaomei Chen situates her study both in the context of Chinese literary and cultural history and in the context of comparative drama and theater, cultural studies, and critical issues relevant to national theater worldwide. Following a discussion of the marginality of modern Chinese drama in relation to other genres, periods, and cultures, early chapters focus on the dynamic relationship between theater and revolution. Chosen during the Cultural Revolution as the exclusive artistic vehicle to promote proletariat art, "model theater" raises important questions about the complex relationships between women, memory, nation/state, revolution, and visual culture. Throughout this study, Chen argues that dramatic norms inform both theatrical performance and everyday political behavior in contemporary China.

The sense of agency is defined as the sense of oneself as the agent of one's own actions. This also allows oneself to feel distinct from others, and contributes to the subjective phenomenon of self-consciousness (Gallagher, 2000). Distinguishing oneself from others is arguably one of the most important functions of the human brain. Even minor impairments in this ability profoundly affect the individual’s functioning in society as demonstrated by psychiatric and neurological syndromes involving agency disturbances (Della Sala et al., 1991; Franck et al., 2001; Frith, 2005; Sirigu et al., 1999). But the sense of agency also plays a role for cultural and religious phenomena such as voodoo, superstition and gambling, in which individuals experience subjective control over objectively uncontrollable entities (Wegner, 2003). Furthermore, it plays into ethical and law questions concerning responsibility and guilt. For these reasons a better understanding of the sense of agency has been important for neuroscientists, clinicians, philosophers of mind and the general society alike. Significant progress has been made in this regard. For example, philosophical scrutiny has helped establish the conceptual boundaries of the sense of agency (Bayne, 2011; Gallagher, 2000, 2012; Pacherie 2008; Synofzik et al., 2008) and scientific investigations have shed light on the neurocognitive basis of sense of agency including the brain regions supporting sense of agency (Chambon et al., 2013; David et al., 2007; Farrer et al., 2003, 2008; Spengler et al., 2009; Tsakiris et al., 2010; Yomogida et al., 2010). Despite this progress there remain a number of outstanding questions such as: • Are there cross-cultural differences in the sense of agency? • How does the sense of agency develop in infants or change across the lifespan? • How does social context influence sense of agency? • What neural networks support sense of agency (i.e., connectivity and communication between brain regions)? • What are the temporal dynamics with respect to neural processes underlying the sense of agency (i.e. the what and when of agency processing)? • How can different cue models of the sense of agency be further specified and empirically supported, especially with regards to cue integration/ weighting? • What are the applications of sense of agency research (clinically, engineering etc.)? The concept of the sense of agency offers intriguing avenues for knowledge transfer across disciplines and interdisciplinary empirical approaches, especially in addressing the afore-mentioned outstanding questions. The aim of the present research topic is to promote and facilitate such interdisciplinarity for a better understanding of why and how we typically experience our own actions so naturally and undoubtedly as “ours” and what goes awry when we do not. We, thus, welcome contributions from, for example, (i) neuroscience and psychology (including development psychology/ neuroscience), (ii) psychiatry and neurology, (iii) philosophy, (iv) robotics, and (v) computational modeling. In addition to empirical or scientific studies of the sense of agency, we also encourage theoretical contributions including reviews, models, and opinions.

Previously only available to Katselas’ students at the prestigious Beverly Hills Playhouse, Acting Class presents the concepts and methods that have helped lead a generation of actors to success on stage, in cinema, and on television. Now for the first time, this all-encompassing book is available to the general public, taking readers and sitting them in the legendary acting class of Milton Katselas, where he not only covers techniques and methods, but also includes valuable discussions on the attitude any artist needs to fulfill his or her dream.

Many books on acting for beginners approach the subject in an abstract, theoretical way. Rodney Whatley designed Acting: Year One around the environment in which many acting students learn the craft—the college classroom. Skills and concepts are laid out in 31 lessons, mirroring the structure of a 15-week course. Whatley’s down-to-earth, accessible writing engages students, meeting them where they are in their acting journey. The exercises accompanying the text make it easy for instructors to apply what their students read directly in class. Sample grading sheets are included throughout the book, benefiting instructors as well as students, who can learn what criteria they’ll be graded on.

Acting (Re)Considered is an exceptionally wide-ranging collection of theories on acting, ideas about body and training, and statements about the actor in performance. This second edition includes five new essays and has been fully revised and updated, with discussions by or about major figures who have shaped theories and practices of acting and performance from the late nineteenth century to the present. The essays - by directors, historians, actor trainers and actors - bridge the gap between theories and practices of acting, and between East and West. No other book provides such a wealth of primary and secondary sources, bibliographic material, and diversity of approaches. It includes discussions of such key topics as: * how we think and talk about acting * acting and emotion * the actor's psychophysical process * the body and training * the actor in performance * non-Western and cross-cultural paradigms of the body, training and acting. Acting (Re)Considered is vital reading for all those interested in performance.

Acting in Musical Theatre remains the only complete course in approaching a role in a musical. It covers fundamental skills for novice actors, practical insights for professionals, and even tips to help veteran musical performers refine their craft. Updates in this expanded and revised second edition include: A brand new companion website for students and teachers, including Powerpoint lecture slides, sample syllabi, and checklists for projects and exercises. Learning outcomes for each chapter to guide teachers and students through the book’s core ideas and lessons New style overviews for pop and jukebox musicals Extensive updated professional insights from field testing with students, young professionals, and industry showcases Full-colour production images, bringing each chapter to life Acting in Musical Theatre’s chapters divide into easy-to-reference units, each containing group and solo exercises, making it the definitive textbook for students and practitioners alike.

"The Great Guskin" (John Lahr, The New Yorker) shares the approach he uses to help actors land roles, develop them, and keep them alive Harold Guskin is an "acting doctor" whose clients include Kevin Kline, Glenn Close, James Gandolfini, Bridget Fonda, and dozens more. In How to Stop Acting, Guskin reveals the insights and techniques that have worked wonders for beginners as well as stars. Instead of yet another "method," Guskin offers a strategy based on a radically simple and refreshing idea: that the actor's work is not to "create a character" but rather to be continually, personally responsive to the text, wherever his impulse takes him, from first read-through to final performance. From this credo derives an entirely new perspective on auditioning and the challenge of developing a role and keeping it fresh, even over hundreds of performances. Drawing on examples from his clients' work and his own, Guskin presents acting as a constantly evolving exploration rather than as a progression toward a fixed goal. He also offers sound and original advice on adapting to the particular demands of television and film, playing difficult emotional scenes, tackling the Shakespearean and other great roles, and more. His book will find an eager and appreciative audience among novices and established actors alike.