Creativity: the Actor in Performance

Trenos, Helen

doi:10.2478/9783110401967

Cited by 2 publications

(4 citation statements)

References 19 publications

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“…First, the intervention in this study had an additional focus on eye-contact, body language, and voice, which may have had a more direct impact on the public speaking competence. This could be more in line with a performance-oriented actor training given by Western educators who stress the naturalistic input ("don't act, but be") (Trenos, 2014) and with assessment criteria often linked to public speaking (De Grez, Valcke, & Roozen, 2009). Second, there is a difference in age between the participants of the two studies.…”

Section: Discussion Limitations and Conclusionmentioning

confidence: 83%

“…When discussing the potential impact of drama education on public speaking, one actually refers to techniques that are integrated into actor training. One could distinguish between techniques that focus on the creation of new characters for a future play and techniques that aim to improve an actor's performance of in front of an audience, even though in reality these two categories are more likely to form opposite sides of a spectrum (Trenos, 2014). In this paper, it is the latter category that is of interest to us.…”

Section: Public Speaking and Drama Educationmentioning

confidence: 99%

“…Due to the ephemeral status of acting, the ongoing discussions between opposing theorists and a number of culture-specific phenomena, it is difficult to formalize actor training into one comprehensive theory. However, in relation to a performance-oriented actor training most Western acting educators could agree on one point, namely the importance of the naturalistic input ("don't act, but be"), which would result in a focus on eye-contact, body language and voice (Trenos, 2014).…”

Section: Public Speaking and Drama Educationmentioning

confidence: 99%

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Improving public speaking in secondary education―Exploring the potential of an improvisation training

Casteleyn¹

2019

L1 Educational Studies in Language and Literature

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Public speaking occupies a central position in secondary education, and often teachers introduce improvisation training to improve this competence, but it is yet unclear if this teaching approach has a beneficial impact. In this respect, this paper addresses the following research question: Does an improvisation training that focuses on eye-contact, voice, and body language have an impact on the public speaking competence of students in secondary education? In this study with a quasi-experimental design, we assessed the impact of the intervention with a control group with a pre-and posttest of a speaker's public speaking competence scored via compared judgement of videos of speaking exercises. The intervention had a significant but modest effect, but a number of important caveats need to be formulated. Age of participants, group size, and professionalism of the instructor might all partly determine the effect of such an improvisation training, but these variables were not integrated into the research design of this study.

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Section: Discussion Limitations and Conclusionmentioning

confidence: 83%

Section: Public Speaking and Drama Educationmentioning

confidence: 99%

Section: Public Speaking and Drama Educationmentioning

confidence: 99%

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Improving public speaking in secondary education―Exploring the potential of an improvisation training

Casteleyn¹

2019

L1 Educational Studies in Language and Literature

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“…Several performance scholars have argued that, rather than being a quality or a skill, presence is inherently a social event, and audience and performers constitute a performance event by their phenomenal co-presence (Fischer-Lichte 2008;Power 2008;Zarrilli 2012Zarrilli , 2009Trenos 2014;Heim 2016). In the book Stage Presence (2008), Jane Goodall observes how the phenomenon of stage presence is intrinsically mutable and dynamic, a product of social constructions, shaped by the evolution of aesthetics and of scientific and political ideas across time (Goodall 2008).…”

Section: Cognitive Ecological Framework: An Emergent Distributed Mode...mentioning

confidence: 99%

Cognitive Ecologies of Presence(S) in Three Different Dance Forms

Pini¹

2023

Nordic Journal of Dance

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Presence is a central yet controversial topic in the study of performing arts and theatrical traditions, where the notion of ‘stage presence’ is generally understood as the performer’s ability to enchant the audience’s attention. How do dancers relate to the idea of presence in performance, and how do they understand, enact, and perform presence in their artistic work and practices? In this article I offer an investigation into presence’s variations in three different dance practices and choreographic contexts: the case of the Ballet National de Marseille during the staging of Emio Greco’s piece Passione; Contact Improvisation in the case of independent groups of contacters in Italy and Australia; and Body Weather, a radical movement ideology developed by Japanese choreographer Min Tanaka in the context of the company Tess de Quincey and Co. in Sydney. To illustrate how presence in dance practices emerges in relation to a complex and dynamic environment, I propose a cognitive ecological approach to the notion of ‘stage presence’, which considers both the co-presence of audiences and performers and the socio-cultural context of the performance event. By exploring how dancers articulate their lived experiences of presence in relation to their different dance contexts and traditions, I suggest framing phenomena of presence in an embodied ecological sense.

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Creativity: the Actor in Performance

Cited by 2 publications

References 19 publications

Improving public speaking in secondary education―Exploring the potential of an improvisation training

Improving public speaking in secondary education―Exploring the potential of an improvisation training

Cognitive Ecologies of Presence(S) in Three Different Dance Forms

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