Creativity: the Actor in Performance

Trenos, Helen

doi:10.2478/9783110402100

Cited by 4 publications

(2 citation statements)

References 12 publications

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“…The skill of acting requires the rigorous analysis of a script to develop and embody a character, to tell a story delivered in a theatre or via a screen (Trenos & Michalowicz, 2014). Although acting performances can be watched, it is difficult to define what excellence in acting performance entails.…”

Section: The Acting Processmentioning

confidence: 99%

“…Although acting performances can be watched, it is difficult to define what excellence in acting performance entails. Part of the challenge is due to the multiplicity of acting theories and styles that define acting differently (Mamet, 1999;Stanislavski, 2013;Trenos & Michalowicz, 2014). Despite this challenge, empirical researchers explored the psychological processes underlying learning lines and acting performance, revealing that acting involves two processes: script analysis and rehearsals/performances (Noice, 1991;Noice & Noice, 2002).…”

Section: The Acting Processmentioning

confidence: 99%

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The peak performance experience in professional screen acting

2021

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A substantial body of literature exists investigating the psychological states underlying peak performance in sports. However, performance excellence among performing artists, particularly actors, has received less empirical study. Thus, this investigation explored what the subjective peak performance experience is like in the context of professional screen acting, and how it is achieved. Adopting a qualitative approach, semi-structured interviews were conducted with five professional screen actors exploring a subjective peak performance experience. Transcripts were analysed using an interpretative phenomenological analysis. Two master themes represented peak screen acting performance experiences and described how actors achieved them.The first theme revealed how actors achieve peak performance through preparation processes that afford self-efficacy and acceptance to perform freely. The second theme illustrated that subjective peak screen acting performances were a present, connected, and heightened state where actors felt like they cognitively and physically lived as their character whilst attention resources monitored technical performance factors. Evidently, subjective peak screen acting performance involves an interaction of skill-based and psychological factors. Additionally, the peak performance state involves both cognitive and physical components. Not only can these results offer actors increased self-insight, but educators and directors can use findings to support actors in reaching their performance potential.

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Section: The Acting Processmentioning

confidence: 99%

Section: The Acting Processmentioning

confidence: 99%

The peak performance experience in professional screen acting

2021

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Embodied correspondences with the material world: Marcel Jousse’s ‘laboratory of the self’ as a force for creative practice in performer training

Nixon¹

2019

Theatre, Dance and Performance Training

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Drawing on a range of interdisciplinary perspectives, material engagement theory and environmental humanities, Ellie seeks to articulate the projective interplay between the sensate imagining body and the material world as a dynamic force for creative practice. She is currently writing a monograph titled The Imagining Body in Performer Training: The Legacy of Jacques Lecoq and Gaston Bachelard as part of the Perspectives on Performer Training Book Series, to be published by Routledge in 2019. https://www.bathspa.ac.uk/ourpeople/ellie-nixon/

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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 4 publications

References 12 publications

The peak performance experience in professional screen acting

The peak performance experience in professional screen acting

Embodied correspondences with the material world: Marcel Jousse’s ‘laboratory of the self’ as a force for creative practice in performer training

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

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