AMBIENTUM BIOETHICA BIOLOGIA CHEMIA DIGITALIA DRAMATICA EDUCATIO ARTIS GYMNAST. ENGINEERING EPHEMERIDES EUROPAEA GEOGRAPHIA GEOLOGIA HISTORIA HISTORIA ARTIUM INFORMATICA IURISPRUDENTIA MATHEMATICA MUSICA NEGOTIA OECONOMICA PHILOLOGIA PHILOSOPHIA PHYSICA POLITICA PSYCHOLOGIA-PAEDAGOGIA SOCIOLOGIA THEOLOGIA CATHOLICA THEOLOGIA CATHOLICA LATIN THEOLOGIA GR.-CATH. VARAD THEOLOGIA ORTHODOXA THEOLOGIA REF. TRANSYLVAN
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Authors: DIANA ALDEA.
VIEW PDF: THE CASTING OR THE TWO-HEADED SPECTATOR – A GIVE AND TAKE PROCESS
This paper analyses the process of casting in theatre, by focusing on the actor-director information exchanges. The author starts from the premise that a casting session is, essentially, a theatrical situation with two players who alternate their roles.
Keywords: casting, director, actor, limit encounter, emotion, non-verbal language, blocking, attention, observation, neurosciences.
References:
Travelling Academy. Andrei Șerban. Cartea Atelierelor, volume coordinated by Monica Andronescu and Cristiana Gavrilă, preface by Horia-Roman Patapievici, Nemira, 2013.
Banu, George, Scena supravegheată. De la Shakespeare la Genet, translation by Delia Voicu, Polirom, 2007.
Csikszentmihalyi, Mihaly, Starea de flux: psihologia experienței supreme, transl. Monica Tudora, Cartea Veche, Bucharest, 2007.
Dodin, Lev, Călătorie fără sfârşit. Reflecţii şi memorii, ed. by John Ormrod, foreword by Peter Brook, transl. from English by Cătălina Panaitescu, “Teatrul azi”, series “Mari regizori ai lumii”, Bucharest, 2008.
Dragnea, Doina, Băleanu Andrei, Actorul – între adevăr și ficțiune, Meridiane, Bucharest, 1984.
Goffman Erving, Viaţa cotidiană ca spectacol, Comunicare.ro Publishing House, Bucharest, 2007.
Goleman, Daniel, Focus-motivația ascunsă a performanței, translation from English by Iustina Cojocaru and Bogdan Georgescu, Curtea Veche Publishing, Bucharest, 2013.
-Inteligența emoțională, 3rd edition, translation from English by Irina-Margareta Nistor, Curtea Veche, Bucharest, 2008.
Wegner, Daniel, How to Think, Say, or Do Precisely the Worst Thing for Any Occasion Science, 3 July 2009, pp. 48-50.
“The Deconstruction of the Improvisation in the Actor''''s Training. A Dialog with David Zinder“, interview by Filip Odangiu, in Studia Universitatis Babeş-Bolyai. Dramatica, no. 1, 2011, pp. 115-125.
Published Online: 2015-10
References:
Travelling Academy. Andrei Șerban. Cartea Atelierelor, volume coordinated by Monica Andronescu and Cristiana Gavrilă, preface by Horia-Roman Patapievici, Nemira, 2013.
Banu, George, Scena supravegheată. De la Shakespeare la Genet, translation by Delia Voicu, Polirom, 2007.
Csikszentmihalyi, Mihaly, Starea de flux: psihologia experienței supreme, transl. Monica Tudora, Cartea Veche, Bucharest, 2007.
Dodin, Lev, Călătorie fără sfârşit. Reflecţii şi memorii, ed. by John Ormrod, foreword by Peter Brook, transl. from English by Cătălina Panaitescu, “Teatrul azi”, series “Mari regizori ai lumii”, Bucharest, 2008.
Dragnea, Doina, Băleanu Andrei, Actorul – între adevăr și ficțiune, Meridiane, Bucharest, 1984.
Goffman Erving, Viaţa cotidiană ca spectacol, Comunicare.ro Publishing House, Bucharest, 2007.
Goleman, Daniel, Focus-motivația ascunsă a performanței, translation from English by Iustina Cojocaru and Bogdan Georgescu, Curtea Veche Publishing, Bucharest, 2013.
-Inteligența emoțională, 3rd edition, translation from English by Irina-Margareta Nistor, Curtea Veche, Bucharest, 2008.
Wegner, Daniel, How to Think, Say, or Do Precisely the Worst Thing for Any Occasion Science, 3 July 2009, pp. 48-50.
“The Deconstruction of the Improvisation in the Actor''''s Training. A Dialog with David Zinder“, interview by Filip Odangiu, in Studia Universitatis Babeş-Bolyai. Dramatica, no. 1, 2011, pp. 115-125.
Published Online: 2015-10
