An Actor S Research

An Actor’s Research: Investigating Choices for Practice and Performance presents an accessible and highly practical guide to the research approaches required of the actor. It aims to establish the precision and rigour of the actor’s craft that is intrinsic to a compelling acting performance, explore a range of research activities surrounding and emerging from practical work in the studio, and enable the actor to evolve a multifaceted skillset in researching for performance. The chapters focus on different research areas such as the self, character, relationships, circumstance, and context, providing accessible and practical guidance to developing a personal research practice. Each aspect is explained and engaged with as practice, rather than study – offering helpful hints and advising against common pitfalls – ultimately enabling the actor to locate the necessary knowledge to shape and inform their performance in both text-based and devised scenarios. Additionally, as the actor’s self is a personal instrument that is drawn on in terms of expression, impulses, and imagination; the self also becomes a source for creative appraisal and research. This book therefore offers comprehensive advice and strategies for self-evaluation and reflection, connecting research investigation with self-exploration in making expressive performance choices, making it a practice highly applicable to the actor’s needs. An Actor’s Research closely follows the training actor’s needs in terms of performance-based research; however, its practical research activities for text and character creation and strategies for the development of critical thinking and self-reflective skills support the ongoing development of the actor and their craft in both training and professional circumstances.

A valuable new touchstone for phenomenology and performance as research. In this book, Daniel Johnston examines how phenomenology can describe, analyze, and inspire theater-making. Each chapter introduces themes to guide the creative process through objects, bodies, spaces, time, history, freedom, and authenticity. Key examples in the work are drawn from Chekhov's The Cherry Orchard, Sophocles' Antigone, and Shakespeare's Hamlet. Practical tasks throughout explore how the theatrical event can offer unique insights into being and existence, as Johnston's philosophical perspective shines light on broader existential issues of being. In this way, the book makes a bold contribution to the study of acting as an embodied form of philosophy and reveals how phenomenology can be a rich source of creativity for actors, directors, designers, and collaborators in the performance process. Brimming with insight into the practice and theory of acting, this original new work stimulates new approaches to rehearsal and sees theater-making as capable of speaking back to philosophical discourse.

"An Actor's Research: Investigating Choices for Practice and Performance presents an accessible and highly practical guide to the research approaches required of the actor. It aims to establish the precision and rigour of the actor's craft that is intrinsic to a compelling acting performance, explore a range of research activities surrounding and emerging from practical work in the studio and enable the actor to evolve a multifaceted skillset in researching for performance. The chapters focus on different research areas such as the self, character, relationships, circumstance, and context, providing accessible and practical guidance to developing a personal research practice. Each aspect is explained and engaged with as practice, rather than study - offering helpful hints and advising against common pitfalls - ultimately enabling the actor to locate the necessary knowledge to shape and inform their performance in both text-based and devised scenarios. Additionally, as the actor's self is a personal instrument that is drawn on in terms of expression, impulses and imagination - the self also becomes a source for creative appraisal and research. This book therefore offers comprehensive advice and strategies for self-evaluation and reflection, connecting research investigation with self-exploration in making expressive performance choices, making it a practice highly applicable to the actor's needs. An Actor's Research closely follows the training actor's needs in terms of performance-based research, however, its practical research activities for text and character creation and strategies for the development of critical thinking and self-reflective skills, support the ongoing development of the actor and their craft in both training and professional circumstances"--

How do non-state actors matter in international relations? This volume recognizes three types of non-state actor: non-governmental organizations (NGOs), intergovernmental organizations (IGOs) and transnational corporations. It illustrates how they play roles alongside nation-states and are interrelated in matters of international regulation and coordination. After an introductory part on current qualitative and quantitative sources, this comprehensive collection of state-of-the-art essays is comprised of four main thematic parts: Part II examines actors other than governments, such as transnational religious actors, business representatives and experts, and also parliamentarians and agencies set up by IGOs. Part III studies the perceptions and understandings in political philosophy, international law and international relations theory. It questions concepts used (civil society, NGO, governance) and covers the limitations to be kept in mind. Part IV analyses the nature and impact of non-state actors. Chapters discuss processes within international bureaucracies (diplomacy, dynamism, bureaucratic power, contribution to democracy) and the quintessence of deliberation and decision making within NGOs and IGOs and of implementation, accountability and dispute settlement. Part V studies specific worlds of non-state actors: humanitarian aid, human rights, security, the North-South divide, health, trade and environment. Accessible and articulately written, The Ashgate Research Companion to Non-State Actors is aimed at a wide readership of scholars and practitioners in international relations.

This policy brief has been developed to offer specific key recommendations and lessons learned that the Ministry of Agriculture and Land Reclamation in Egypt could consider for strengthening its support to the country’s NARS. Ultimately, the recommendations are intended to ensure efficient adoption of the proposed methodologies for enhancing the impact of Egypt‘s NARS efforts on AR4D.

This policy brief has been developed to offer specific key-recommendations and lessons learned, which the Government of Liberia could consider for strengthening its support to the NARS of the country. Ultimately, the recommendations are intended to ensure efficient adoption of the proposed methodologies for enhancing the impact of the AR4D efforts of the NARS in Liberia.

The set of papers collected in this issue originated from the AGERE! Workshop series - the last edition was held in 2017 - and concern the application of actor-based approaches to mainstream application domains and the discussion of related issues. The issue is divided into two parts. The first part concerns Web Programming; Data-Intensive Parallel Programming; Mobile Computing; Self-Organizing Systems and the second part concerns Scheduling; Debugging; Communication and Coordination; Monitoring.

Actors and the Art of Performance: Under Exposure combines the author's two main biographical paths: her professional commitment to the fields of both theatre and philosophy. The art of acting on stage is analysed here not only from the theoretical perspective of a spectator, but also from the perspective of the actor. The author draws on her experience as both a theatre actor and a university professor whose teachings in the art of acting rely heavily on her own experience and also on her philosophical knowledge. The book is unique not only in terms of its content but also in terms of its style. Written in a multiplicity of voices, the text oscillates between philosophical reasoning and narrative forms of writing, including micro-narratives, fables, parables, and inter alia by Carroll, Hoffmann and Kleist. Hence the book claims that a trans-disciplinary dialogue between the art of acting and the art of philosophical thinking calls for an aesthetical research that questions and begins to seek alternatives to traditionally established and ingrained formats of philosophy.