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Lights
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Actors
Who is an Actor or Actress?
An actor or actress is an anyone who acts, or plays a part, in a theatrical production. The phrase generally refers to someone functioning in cinema, small screen (TV), live theatre, or radio, and can sporadically indicate an avenue performer. Moreover playing theatrical roles, actors may also sing or work only on radio or as a voice artist.
An actor typically plays an imaginary character. In the case of a factual story (or a imagined story that portrays genuine citizens) an actor might play a real person (or a story bound account of the identical).
What is acting?
What Famous Person's Say About Acting….
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1. Glenda Jackson: Acting is not about dressing up. Acting is about stripping bare. The whole essence of learning lines is to forget them so you can make them sound like you thought of them that instant.
2. Humphrey Bogart: Acting is experience with something sweet behind it.
3. Vanessa Redgrave: I give myself to my parts as a lover. It's the only way. {Time, 17 March 1967}.
4. Sir Charles Chaplin: Timing! My mother gave me that. I was born with it. I don't think you can teach a person to act. {Radio Times, March 1979}.
5. Glenda Jackson: You'd think is something one would grow out of. But you grow into it. The more you do, the more you realize how painfully easy it is to be lousy and how very difficult to be good. {People, March 1985}.
6. Robert Redford: A lot of what acting is paying attention.
7. Lawrence Barrett, 19th Century American Actor: Acting is... forever carving a statue of snow.
8. Jeff Goldblum: Acting is nothing more or less than playing. The idea is to humanize life.
9. Robert De Niro: One of the things about acting is it allows you to live other people's lives without having to pay the price. I've never been one of those actors who have touted myself as a fascinating human being. I had to decide early on whether I was to be an actor or a personality.
Are you a Real Actor or Actress…….?
Check it to know about your inner artist. Click here
History (not mystery)
The original recorded case of an actor performing taken place in 534 BC (perhaps on November 23, while the changes in almanac more than the years make it hard to decide accurately) when the Greek performer Thespis stepped on to the stage at the Theatre Dionysus and became the first known person to speak words as a character in a play. Prior to Thespis' act, stories were told in song and dance and in third person tale, but no one had tacit the role of a temperament in a story. In honor of Thespis, actors are usually identified as Thespians. Melodramatic fable to this day maintains that Thespis exists as a playful courage, and disasters in the theatre are now and then liable on his ghostly intercession.
Actors were habitually not people of high rank, and in the Early Middle Ages traveling performing arts troupes were frequently viewed with doubt. In lots of parts of Europe, actors mightn't yet obtain a Christian Burial, and long-established viewpoint of the district and era period detained that this left any actor forever damned. On the other hand, this unenthusiastic awareness was mostly upturned in the 19th and 20th centuries, as acting has developed into a privileged and fashionable career and art. Division of the reason is the easier well-liked right to use to theatrical movie entertainment and the consequential go up of the movie star, as regards mutually their communal status and the salaries they authority. The mixture of community being there and prosperity has deeply improved their image.
In the times of yore, just men might turn into actors in a little societies. In the early Rome, Greece and the medieval planet, it was measured shocking for a woman to go on the stage, and this conviction persistent right up until the 17th century, when in Venice it was broken down. In the time of William Shakespeare, men or boys generally played women's roles. The British embargo was ruined in the time in power of Charles II who enjoyed surveillance womanly actresses on stage.
Theories (learn from theories of great artists)
As in supplementary art forms, acting has a conjectural institution. Stanislavsky and The Moscow Theater were amongst the first founders of what is now measured Method Acting. Meyerhold, his theory on biomechanics and physicality was a revolutionary idea back in early 20th century Russian theater. Ever since then, Americanized forms of these theories brought about by Lee Strasberg, Stella Adler, and other variations brought about by Sanford Meisner and Viola Spolin can be seen.
Techniques of acting
Actors and Actresses utilize a mixture of techniques to facilitate are learned from side to side preparation and familiarity. Some of these are:
The thorough use of the voice to converse a character's lines and express sensation. This is achieved in the course of mind to delivery and ledge through correct breathing and enunciation. It is also achieved through the tone and accent that an actor puts on words
Physicalization of a role in order to create a realistic character for the listeners and to use the acting space aptly and fittingly.
Use of gesticulation to match the voice, act together with other actors and to bring importance to the words in a play, as well as having emblematic connotation
Shakespeare is whispered to have been commenting on the acting way and techniques of his epoch what time Hamlet gives his counsel to the players in the play-within-the-play. He encourages the actors to “speak the speech...as I pronounced it to you,” and avoid “saw[ing] the air too much with your hand”, for the reason that even in a “whirlwind of passion, you must...give it smoothness.” On the other hand, Hamlet urges the players to “Be not too tame neither.” He suggests that they make sure to “suit the action to the word, the word to the action”, captivating care to “o'erstep not the modesty of nature.” As well, he told the players to not “...let those that play your clowns...laugh, to set on several measure of unproductive spectators to laugh too,” which Hamlet measured to be a “villainous” and “pitiful” policy.
The English detractor Benedict Nightingale discussed and compared enormous traditional actors of the long dead past, and the present, and their mysterious effect upon audiences, in this 1983 critique from the New York Times, accessible online.
Role Psychiatry in 7 steps (these or not reel)
1.Read the play for the first time.
2.Do some basic reading and research on the playwright and on the era in which the play was originally written and produced.
3.Read the play for the second time and focus on your role.
4.Analyze the structure and the content of the play.
5.The 3 W's. ask yourself and answer these questions about your role:
i. Who am I?
ii. Where am I?
iii. What do I want?
6.Visualize your character's physical appearance.
7.Fill in all character activity not provided in the text. (Where does he go when he exits? What he was doing before entering the stage?)
Actors playing the opposite to their marital status
Traditionally, acting was consider a man's career; so, in Shakespeare's time, for example, men and boys played all roles, as well as the female parts. This was the case until the Restoration of the theater in 1660, the first incidence of the term actress in the OED being by Dryden in 1700.
In Japan, men (Onnagata) took over the female roles in Kabuki theatre when women were expelled from performing arts on stage during the Edo period. Conversely, some forms of Chinese theater have females playing all the roles.
In the present day, women occasionally play the roles of prepubescent boys, for the reason that in several regards a woman has a closer similitude to a boy than does a man. A woman, for instance, conventionally plays the role of Peter Pan. The ritual of the primary boy in pantomime may be compared. An adult playing a child occurs more in theater than in film. The exemption to this is voice actors in animated films and television programs, someplace women by and large voice boys, as heard in The Simpson's wherever Nancy Cartwright provides the voice of Bart Simpson. Opera has several 'pants roles' conventionally sung by women, usually mezzo-sopranos. Examples are Hansel in Hänsel und Gretel, and Cherubino in The Marriage of Figaro.
Mary Pickford played the part of Little Lord Fauntleroy in the first film version of the book. Linda Hunt won an Academy Award for Best Supporting Actress in The Year of Living Dangerously, in which she played the part of a man; this was the only Oscar ever awarded for playing a role of the contradictorily status.
Having an actor play the opposite his/her marital status for stand-up comedian result is also a ancient ritual in comic theatre and film. Most of Shakespeare's comedies embrace instances of cross-dressing, such as Francis Flute in A Midsummer Night's Dream, and mutually Dustin Hoffman and Robin Williams appeared in hit comedy films where they were requisite to play most scenes dressed as women. The movie A Funny Thing Happened on the Way to the Forum stars Jack Gilford dressing as a young bride, among other slapstick comedy. Tony Curtis and Jack Lemmon famously posed as women to escape gangsters in the Billy Wilder film Some Like It Hot. Cross-dressing for comic effect was a frequently used device in most of the thirty Carry On films. More than a few roles in contemporary plays and musicals are played by a member of the opposite his/her marital status , such as the character "Edna Turnblad" in Hairspray--played by Divine in the original film, Harvey Fierstein in the Broadway musical, and John Travolta in the 2007 movie musical. Occasionally the issue is further complex during the role of a woman acting as a man pretending to be a woman, like Julie Andrews in Victor/Victoria or Gwyneth Paltrow in Shakespeare in Love.
The words Actor and Actress
The word actor may be used to refer to a male or female player; this was the original use of the term. Various current style guides advocate using actor as a gender-neutral term for both male and females, even if this may lead to mystification for the reason that of the inveterate use of actress. Some female performers prefer the term actress, while others favor actor.
Awards Given to Actors/Actress
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1. Academy Awards, also known as the Oscars, for film
2. Cannes Film Festival Awards, international French festival for -
worldwide films and documentaries
3. Golden Globe Awards for film and television
4. Emmy Awards for television
5. Genie Awards for Canadian film
6. Gemini Awards for Canadian television
7. British Academy of Film and Television Arts Award for film and -
Television
8. Tony Awards for the theatre (specifically, Broadway theatre)
9. European Theatre Awards for the theatre
10. Laurence Olivier Awards for the theatre
11. Screen Actors Guild Awards for actors in film and television
12. Indian National Film Awards for the Indian cinema.
13. Filmfare Awards honors excellence in the Indian Film Industry -
(Bollywood) - limited to Hindi language films only.
14. César Awards for French film
15. AFI Awards for Australian film.
Other Kannada Regional Channel's are offering Awards to Kannada films.... They are....
Chandana Channel too working hard towards the development of KFI.
From so many years Udaya TV is offering the Awards
From 2005 Etv Kannada is also offering the Awards this TV is giving the awards on the basis of Viewers Opinion.
Zee Kannada Channel too working hard towards the development of KFI.
Suvarna Channel too working hard towards the development of KFI.
Kasthuri Channel too working hard towards the development of KFI.
Tv9 too working hard towards the development of KFI.
Method Acting
Method Acting is an acting modus operandi in which actors try to imitate in real life the poignant situation under which the character operates, in an effort to create a life-like, realistic performance. "The Method" typically refers to the generic practice of actors drawing on their own emotions, memories, and experiences to influence their portrayals of characters.
Origins
Mainly an American school, "The Method" was popularized by Lee Strasberg at The Actors Studio and the Group Theatre, in New York City in the 1940s and 50s. It was derived from "the Stanislavski System", after Konstantin Stanislavski, who pioneered similar ideas in his quest for "theatrical truth." This was done through friendships with Russia's leading actors, as well as his teachings, writings, and acting at the Moscow Art Theater (founded in 1897).
Strasberg's students included many of America's most famous actors of the 20th century, including Marlon Brando, Paul Newman, Al Pacino, James Dean, Dustin Hoffman, Marilyn Monroe, Robert De Niro, and many others.
Method acting is apparented to and was influenced by the Stanislavski System, an acting technique introduced by Konstantin Stanislavski in which the actor analyses deeply the motivations and emotions of the character in order to personify him with psychological realism and emotional authenticity. However, using the Method, an actor will recall emotions or a reaction from his or her own life and uses them to identify with the character being portrayed.
Technique
Some consider method acting difficult to teach. Partially this is because of a common misconception that there is a single "method." "The Method" (versus "the method" with a lowercase m) usually refers to Lee Strasberg's teachings, but really no one method has been laid down. Stanislavski himself changed his System constantly and dramatically over the course of his career. This plurality and ambiguity can make it hard to teach a single method. It is also partially because sometimes method acting is characterized by outsiders as lacking in any specific or technical approach to acting, while the abundance of training schools, syllabi, and years spent learning contradict this. In general, however, method acting combines a careful consideration of the psychological motives of the character, and some sort of personal identification with, and possibly the reproduction of the character's emotional state in a realistic way. It usually forms an antithesis to clichéd, unrealistic, so-called "rubber stamp" or indicated acting. Mostly, however, the surmising done about the character and the elusive, capricious or sensitive nature of emotions combine to make method acting difficult to teach.
Depending on the exact version taught by the numerous directors and teachers who claim to propagate the fundamentals of this technique, the process can include various ideologies and practices such as "as if," "substitution," "emotional memory in acting," and "preparation."
Sanford Meisner, another Group Theatre pioneer, championed a separate, though closely related school of acting, which came to be called the Meisner technique. Meisner broke from Strasberg on the subject of "sense memory" or "emotional memory," one of the basic tenets of the American Method at the time. Those trained by Strasberg often used personal experience on stage to identify with the emotional life of the character and portray it. Meisner found that too cerebral, and advocated fully immersing oneself in the moment of a character and gaining spontaneity through an understanding of the scene's circumstances, and through exercises he designed to help the actor gain emotional investment in the scene and then free him or her to react as the character.
Stella Adler, the coach whose fame was cemented by the success of her students Marlon Brando and Robert DeNiro, as well as the only teacher from the Group Theatre to have studied Acting Technique with Stanislavski himself, also broke with Strasberg and developed yet another form of acting. Her technique is founded in the idea that one must not use memories from their own past to conjure up emotion, but rather using the Given Circumstances. Stella Adler's technique relies on the carrying through of tasks, wants, needs, and objectives. It also seeks to stimulate the actor's imagination with the use of as-if's. As she often preached, "We are what we do, not what we say."
Major books on the Method
1. The Method Manual for teachers and actors by Ed Kovens
2. Advice to the Players by Robert Lewis
3.A Dream of Passion by Lee Strasberg
4. To the Actor by Michael Chekhov
5. Method or Madness by Robert Lewis
6. An Actor Prepares by Constantin Stanislavski
7. Sanford Meisner on Acting by Sanford Meisner
8. The Actor's Studio: A Player's Place by David Garfield
9. Respect for Acting by Uta Hagen
Types of Actor
1 Leading actor
2. Supporting actor
3.Character actor
4. Bit part
5. Stunt work
6. Celebrity
7. Movie star
8. Child actor
Where to get chances..?
Our Star Aagthira..? is the good stage for you, then you will get chances from the film people. And try and try to get good chances.
Note :- Don't get cheated from the people who give you a hope that they will get chances, please don't believe these type of people, If you are really a talented artist get a chances in the film through the Registered Film Institutions or film makers.
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