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Professional actors

The schauspielerei is the work of the actors or an actress, a person is in theater, television, film, or any other act, the medium tells the story by the figure of a character and, more often, talks or sings the advertisements written text or play.

Most of the sources very early in the west, the actors in the ART (Greek:  hypokrisis) discuss in the context of the rhetoric

One of the early players if it is without doubt a name ancient Greek thespian of favor. A history apokryphe said that thespian is between in choir and met with him, as a separate sign. Before thespian, - (for example, "the effect Dionysos, Dionysos”).  If thespian was from the - (in the year 12 V. J. -C.  ), He spoke as if he was the character (for example: "I am Dionysos. I have done”).  Name of thespian" engages in the floor.

Action requires a broad range of capabilities, including all projection, the clarity of the language, physical and emotional expressivität factory, an imagination well developed, and the ability to interpret. Act also often requires the ability to employ dialects, accents and language, improvisation, the monitoring and be, mime and stage combat. Many players train to length of specific programs or college these skills to develop, and today the vast majority of trained professionals have been important. Even if an actor can of a long training, they always strive to other lessons that all and a world constantly changing and that is why the actors must always be timely as possible. Actors, and they often have a lot of teachers and educators for a whole range of education, the, but cannot be limited to sing, scene, monologue techniques, audition techniques, and partners.

Are not all people working as actors in film, television or in theaters are trained professionals. wintergärten generally offer two to four training in all aspects of the schauspielkunst. universities offer three or four years programs in which students/In is often in the situation, they are concentrated on drama, then that other aspects of theater. The schools differ in its approach, but in North America of the more method derive from the "system" of Constantine stanislawski, which has been developed and popular fact in America of Lee strasberg, Stella Adler, and others. The any designated method will be more iteration of Stanislavski the system of Strasberg. Part of this style of training includes actors know lines to work off-book, a concept which means, in the measurement of work, without a script. Other approaches may also another physical approach, after the lesson of Jerzy Grotowski and of other, or can be worn on the formation of other theatermachern as C. Meisner. Other categories may also masks, improvisation, and acting for the camera. Regardless of the approach of a school, the participants should expect to intensive training literally interpretation, voice and movement. However, there are some teachers, the promotion of improvisation as a method for the actors of restrictions in the sample. Harold guskin the approach or "to the ingestion OF THE PAGE" that he identifies is evolve in this philosophy. Applications of programs and fictional are wintergärten by consultation in the United States. Who more than 18 years can normally to schauspielschule?

Education can also be already in a very young age. The classes and schools of training is directed to the sub-18 quantity are offered in many places. These classes are young actor’s different aspects of show and theater, including the scenes study.

Amateur of players is that the payments of benefits. There are certainly a few professional actors paid, the amateur work for several reasons. Some are teaching or even ladies events

Mprovisation was developed by Viola spolin to work with neva Boyd in a house numbers in Chicago, Illinois. She has been boyds student from 1924 to 1927. improve has been developed on the recognition of the fact that the adults are not as important to play. spooling, games, exercises and well in the future. With improve, can it be by true freedom since it is not always know what the situation. If we still working, with an open mind, you have a true sense of belonging and the spontaneity is not before the planning a response. You have a signed their own power, and with this character and the other working with them, they establish spontaneous and a new part. improve of same, if an ACTORS OR actress an error.

Semiotics of the action is the capacity of actors to the transformation into a convincing sign before the general public. The public no longer provides for performer as actors, but provides for a signed an any other. Once this layer is acquired, the actors of a semiotischen vases device a series of signs, and the public. A sign of the importance that a large number of different meanings on the general public. This intention or non-actors, has however limited control as the public is "read" signs. For example, if the actors play a character of diagnoses the cancer, the public will be not only cancer patients, but rather a sign like other cancers OR SURVIVORS that they have lived. The actors, as each text must be read, to the target.

However, the actors judged on the basis, as a convincing and credible performance. Of the actors is special by semiotischen signed including Mimic post, emotion, and the vocabulary. All these examples are known as a benefit has been signed. Power signs are simple rules of conduct, the public in decoding the schauspielerischen benefits. It is the actors for mission to provide these codes effective on the public. If the viewer does not find credible character, and then the actors, in its constitution. As in other forms of communication, non-verbal or visual indications are extremely important. C. schauspiellehrer Meisner has said: "one ounce emotion is better than words.” [3] fabulous actor’s Master power signed to win on a public.

It includes two forms of communication: intrascenic (communication between the characters) and extra scenic (Communication between the brand and the public).  The two intrascenic and extra scenic communications will have to work for the public to the reading of the semiotischen sign of the schauspielerischen benefits. The sign must intrascenic capacities - "the chemistry IS TRUE" - in a scene in the market for the public to understand the performance.

Of the actors, the text of the scripts as a benefit has been signed. Actors put the text of the life by the Constitution and by the personal qualities that they can contribute to what the set of scripts. Actors, the ideas by the text, but also a new approach to reality by their performance.

The actors, the semiotischen signed can be a difficult process. It must be understood that the power sign, the public, and the feelings.


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