Reframing Screen PerformanceUniversity of Michigan Press, 11.02.2010 г. - 310 страници "A significant contribution to the literature on screen performance studies, Reframing Screen Performance brings the study of film acting up to date. It should be of interest to those within cinema studies as well as general readers." Reframing Screen Performance is a groundbreaking study of film acting that challenges the long held belief that great cinematic performances are created in the editing room. Surveying the changing attitudes and practices of film acting---from the silent films of Charlie Chaplin to the rise of Lee Strasberg's Actor's Studio in the 1950s to the eclecticism found in contemporary cinema---this volume argues that screen acting is a vital component of film and that it can be understood in the same way as theatrical performance. This richly illustrated volume shows how and why the evocative details of actors' voices, gestures, expressions, and actions are as significant as filmic narrative and audiovisual design. The book features in-depth studies of performances by Anjelica Huston, John Cusack, and Julianne Moore (among others) alongside subtle analyses of directors like Robert Altman and Akira Kurosawa, Sally Potter and Orson Welles. The book bridges the disparate fields of cinema studies and theater studies as it persuasively demonstrates the how theater theory can be illuminate the screen actor's craft. Reframing Screen Performance brings the study of film acting into the twenty-first century and is an essential text for actors, directors, cinema studies scholars, and cinephiles eager to know more about the building blocks of memorable screen performance. Cynthia Baron is Associate Professor of Film Studies at Bowling Green State University and co-editor of More Than a Method: Trends and Traditions in Contemporary Film Performance. Sharon Carnicke is Professor of Theater and Slavic Studies and Associate Dean of Theater at the University of Southern California and author of Stanislavsky in Focus. |
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... Method acting emphasized a slightly different angle , the cultivation of play- ers ' instincts for expressive , natural behavior . These two rhetorical strategies are linked by a common view that gestures and expressions on screen arise ...
... Method in its earliest incarnation . With Mary Tarcai as head , the Actors Laboratory offered classes between 1941 and 1949. Other actors trained in programs at Yale University , the University of Washington , the Goodman Theatre School ...
... Method acting , which emerged in the mid - 1950s and has since become deeply entrenched , might be one reason that is the case . STRASBERG'S METHOD : RADICAL DEPARTURE OR MORE OF THE SAME Crafting , Not Capturing “ Natural " Behavior on ...
Cynthia Baron, Sharon Marie Carnicke. STRASBERG'S METHOD : RADICAL DEPARTURE OR MORE OF THE SAME ? During the studio ... methods actors use to develop characterizations . By the mid - 1950s , rather than presenting actresses as hapless ...
... Method acting in America.60 Moreover , the Method developed by Strasberg is quite different from that formulated by Stella Adler or envisioned by Sanford Meisner.61 Practitioners , for example , recognize that these three leading ...
Съдържание
1 | |
9 | |
PERFORmANCE ELEmENTS CINEmATIC CONvENTIONS | 87 |
TERmS AND CONCEPTS FROm THE CRAFT OF ACTING | 163 |
Conclusion | 232 |
Case Study of Romeo and Juliet | 239 |
Bibliography | 277 |
Index | 291 |