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Theater Actor, Film Actor
![Theater Actor, Film Actor [1]](https://gomagcdn.ro/domains/editurauniversitara.ro/files/product/original/actor-de-teatru-actor-de-film-740-648943.jpg "Theater Actor, Film Actor [1]")
ISBN: 978-606-28-0131-1
DOI: 10.5682/9786062801311
Publisher year: 2015
Edition: I
Pages: 156
Publisher: Editura Universitara
Author: Gheorghe Dobre
Product Code:
9786062801311
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This work arose from an objective need, that of offering readers, especially young people who want to devote themselves to the fascinating but difficult profession of acting, a solid professional and cultural information.
Permanently reporting my own practical experience, on the set, under the guidance of famous Romanian and foreign filmmakers, to established theories of the field, I try to offer future actors a focused history of the evolution of theater and film art, highlighting commonalities and differences their specifics.
The short life of the film (chronologically speaking, the art of unfolding images barely counts a century and a half) is fully offset by the amazing speed with which this discipline comes to dominate and mark the daily life of each of us. I think this happened precisely because the film spectator (who at first was simply amused by the image of his peers who were going through various imaginary trials), realized quite quickly that the film, like the theater, it excites, it involves him in the process of contemplation as he recognizes himself in him and more and more in the characters of the film.
This paper is addressed, therefore, primarily to those who have lacked a strong professional example, missed the meeting with him or, for various reasons, were unprepared at the time of crossing destiny with the great professional challenge.
Permanently reporting my own practical experience, on the set, under the guidance of famous Romanian and foreign filmmakers, to established theories of the field, I try to offer future actors a focused history of the evolution of theater and film art, highlighting commonalities and differences their specifics.
The short life of the film (chronologically speaking, the art of unfolding images barely counts a century and a half) is fully offset by the amazing speed with which this discipline comes to dominate and mark the daily life of each of us. I think this happened precisely because the film spectator (who at first was simply amused by the image of his peers who were going through various imaginary trials), realized quite quickly that the film, like the theater, it excites, it involves him in the process of contemplation as he recognizes himself in him and more and more in the characters of the film.
This paper is addressed, therefore, primarily to those who have lacked a strong professional example, missed the meeting with him or, for various reasons, were unprepared at the time of crossing destiny with the great professional challenge.
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Theater Actor, Movie Actor
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GHEORGHE DOBRE
Argument / 7
Theater and forms of stage expression preceding the appearance of the film / 9
Universal theater - fundamental landmarks / 9
From literature to film / 21
A few thoughts on the essential data of the film / 35
Role interpretation - bivalent source process / 51
The actor in the context of the evolution of Romanian theater and film / 63
Incursion in the history of the Romanian theater / 65
Landmarks in the history of Romanian film / 80
Theater actor and / or film actor / 92
Conclusions / 117
Abstract / 121
Abstract / 139
Bibliography / 149
This work arose from an objective need, that of offering readers, especially young people who want to devote themselves to the fascinating but difficult profession of acting, a solid professional and cultural information.
Permanently reporting my own practical experience, on the set, under the guidance of famous Romanian and foreign filmmakers, to established theories of the field, I try to offer future actors a focused history of the evolution of theater and film art, highlighting commonalities and differences their specifics.
The short life of the film (chronologically speaking, the art of unfolding images barely counts a century and a half) is fully offset by the amazing speed with which this discipline comes to dominate and mark the daily life of each of us. I think this happened precisely because the film spectator (who at first was simply amused by the image of his peers who were going through various imaginary trials), realized quite quickly that the film, like the theater, it excites, it involves him in the process of contemplation as he recognizes himself in him and more and more in the characters of the film.
I have often been asked by fellow younger actors, or by contenders for this status - what do these performing arts have in common?
Of course, a lot of elements are common to the two genres of entertainment.
What fundamentally unites them is, from our point of view, the actor and the act of acting.
The late Stefan Iordache, with whom I had the joy of working, remained faithful to his belief all his life: “Our life, of the actors, is a permanent extemporal, meaning a continuous and mature accumulation of experiences. Get out of school a little abulic. In 4 years you can't learn theater.” But I have always viewed this statement not as a stop, but as an exhortation to perfection.
Due to some data of the moment (the disappearance of a pleiad of great actors, the precarious training of some candidates for the acting profession), I met a small number of young people wanting stage fame, honest and at the same time helpless and unprepared when he arrives. the moment of the real competition on the market, or of the confrontation with a casting (they can't concentrate and miss the test; I understand approximately the meaning of the text, which, corroborated with the inevitable emotions, leads to failures, I don't understand correctly what the director transmits followed his directions, becoming undesirable on the set). I wanted to offer some of them (apart from a few collegiate tips), this text to help them better understand the phenomenon and to adapt more easily to the new requirements.
This paper is addressed, therefore, primarily to those who have lacked a strong professional example, missed the meeting with him or, for various reasons, were unprepared at the time of crossing destiny with the great professional challenge.
I considered it necessary to evoke some episodes from my own experience, from the period when I was involved in outlining some cinematographic works signed by Sergiu Nicolaescu, Franco Zefirelli, Costa Gavras, s.a.m.d. to describe as accurately as possible the tense environment - from a creative perspective - of the film set. There, experiencing the role requires the performer to the maximum and to achieve performance you must be prepared. To be present and at the disposal of the director's requirements with all the bodily, psychic and somatic advantages, but also with a good knowledge of the way in which important personalities dedicated to the interpretive art performed.
Let's not forget that the professional ideal towards which an actor tends to be a theater actor and / or a film actor is "to want to be on stage, as on stage, the closest collaborator of the creator who imposes his vision on the artistic act".
Permanently reporting my own practical experience, on the set, under the guidance of famous Romanian and foreign filmmakers, to established theories of the field, I try to offer future actors a focused history of the evolution of theater and film art, highlighting commonalities and differences their specifics.
The short life of the film (chronologically speaking, the art of unfolding images barely counts a century and a half) is fully offset by the amazing speed with which this discipline comes to dominate and mark the daily life of each of us. I think this happened precisely because the film spectator (who at first was simply amused by the image of his peers who were going through various imaginary trials), realized quite quickly that the film, like the theater, it excites, it involves him in the process of contemplation as he recognizes himself in him and more and more in the characters of the film.
I have often been asked by fellow younger actors, or by contenders for this status - what do these performing arts have in common?
Of course, a lot of elements are common to the two genres of entertainment.
What fundamentally unites them is, from our point of view, the actor and the act of acting.
The late Stefan Iordache, with whom I had the joy of working, remained faithful to his belief all his life: “Our life, of the actors, is a permanent extemporal, meaning a continuous and mature accumulation of experiences. Get out of school a little abulic. In 4 years you can't learn theater.” But I have always viewed this statement not as a stop, but as an exhortation to perfection.
Due to some data of the moment (the disappearance of a pleiad of great actors, the precarious training of some candidates for the acting profession), I met a small number of young people wanting stage fame, honest and at the same time helpless and unprepared when he arrives. the moment of the real competition on the market, or of the confrontation with a casting (they can't concentrate and miss the test; I understand approximately the meaning of the text, which, corroborated with the inevitable emotions, leads to failures, I don't understand correctly what the director transmits followed his directions, becoming undesirable on the set). I wanted to offer some of them (apart from a few collegiate tips), this text to help them better understand the phenomenon and to adapt more easily to the new requirements.
This paper is addressed, therefore, primarily to those who have lacked a strong professional example, missed the meeting with him or, for various reasons, were unprepared at the time of crossing destiny with the great professional challenge.
I considered it necessary to evoke some episodes from my own experience, from the period when I was involved in outlining some cinematographic works signed by Sergiu Nicolaescu, Franco Zefirelli, Costa Gavras, s.a.m.d. to describe as accurately as possible the tense environment - from a creative perspective - of the film set. There, experiencing the role requires the performer to the maximum and to achieve performance you must be prepared. To be present and at the disposal of the director's requirements with all the bodily, psychic and somatic advantages, but also with a good knowledge of the way in which important personalities dedicated to the interpretive art performed.
Let's not forget that the professional ideal towards which an actor tends to be a theater actor and / or a film actor is "to want to be on stage, as on stage, the closest collaborator of the creator who imposes his vision on the artistic act".
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