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The importance of a role play essay
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An actor often has to take on vastly different roles for the production of a large variety of films. In the development of these roles, the actor constructs different sets of personae by the use of specific gestures, vocalics as well as speech content, in order to aid the communication of ideas and thoughts. Hence for an actor whose profession involves the practice of portraying fictional characters with authenticity, it is almost impossible to determine if his persona off the screen is truly authentic. This is especially so for widely acclaimed actors, in particular Oscar nominees, whose portrayals of characters have been done with such expertise that it has earned them accolades. This paper will analyse and compare the personalities of …show more content…
According to Galati and Brennan (2013), gestures are integrated, co-expressed and coordinated with speech. Hence they often complement speech in the expression or emphasis of ideas and thoughts. Throughout Crowe’s interview, it is observed that he often looked down at his hands (04:15 – 05:15) instead of at the interviewer or the audience (refer to Figure 1). This, paired with a lack of eye contact when speaking, indicated the shy persona (Sathre-Eldon et al as cited by Atkins, 1988) Crowe seemed to portray in the interview. Crowe’s use of hand gestures was also limited, and for long periods of time his hands were placed firmly on his lap (04:20 – 04:50, 05:55 – 06:25) (refer to Figure 1). When gestures were utilised, Crowe used the open hand (refer to Figure 2) most frequently, for instance when he shared about his first experience on a filming set as a child (04:29, 04:35). Open hand gestures invite response; hence by using this gesture, Crowe seemed to be inviting support from the audience (Streeck, 2008). In general, Crowe had only a few gestures which were mostly executed with minimal force, suggesting that he was reserved and shy (Martinec, 2004). In his interview, this persona seemed to be authentic as well. Authenticity was apparent due to the conversationality of talk, which can be attributed to the presence of …show more content…
This is in contrast to the cheerful persona that surfaced in his interview, therefore suggesting that the persona constructed was inauthentic. Moreover, Sellers was an enigmatic figure who claimed to have no identity or personality outside the roles he played. He was known to role-play obsessively as he was unable to get out of his on-screen persona, and this was especially evident in one of his appearances with ‘The Muppets’. In the video (Bailey et. al, 1978), caught out by Kermit the frog in the dressing room as he was rehearsing his act, Sellers confided that he “could never be [himself], because there [was] no [him]” (00:55). According to Montgomery (2001), a talk is considered authentic if it truly projects the core self of the speaker and his values. For Sellers, because his personae in his interviews were almost always based on his different on-screen roles, it is virtually impossible to find out what his true personality was and hence accurately determine the authenticity of his
defines persona as a social façade that reflects the role in life an individual is playing. Throughout the
A celebrity is not a person known for his/her talent or achievement, but an individual recognized for his/her reputation created by the media. The phase of stardom is slippery, and media may choose to represent celebrities varying from exaggerated admiration to mockery. The three texts chosen, movie "Sunset Boulevard", feature article "Over the Hilton" and television show "Celebrity Uncensored Six" are texts presenting different perception of celebrities than their usual images - either corrupted by the encircling media, overloads oneself with self-indulgence, or just mocks celebrity in a broad spectrum. Such media items empower and impresses the audience by perceiving celebrities as people who pay the price of privacy to gain well knowness, signifying the vanity of stardom from the commonly accepted images.
To start off the new year, in January of 2018, a new “Ted Talk” was posted, perhaps to persuade its audience to add another resolution to their list. Justin Baldoni, famous actor, talks about,” Why I’m done trying to be ‘man enough’”. Justin discusses his journey of discovering that he has lived his life wrongly and in shame due to not expressing how he truly is because of the pressure society has put on him to be “masculine”. Justin uses personal stories, credibility, and body language to ensure his speech is effective to his audience. Along with other techniques, I will be analyzing the organization and delivery of Justin’s speech.
The world is full of people who portray themselves as someone or something else. People
Philip Zimbardo creates an engaging a talk that will draw many people in. He does this by personalizing himself, using facts and figures, as well as real life situations to support his opinions and is qualified because of his degree and
Dean MacCannell explores the concept of “authenticity,” a quality of genuineness that many people spend time searching for. Throughout the chapter “Staged Authenticity” of The Tourist, there are points that explore this common desire for wholesome experience in new places. In the societal structure of today, however, it is becoming more and more difficult to find authenticity, as we get further and further “mystified” looking for a true and sincere reality. MacCannell makes statements regarding how difficult it is to find realness in the modern world, but never makes a claim that clearly defines authenticity. Instead, MacCannell’s use of paradoxical phrases, visual examples that are relevant to readers, and self-contradiction around the ideas of mystification and reality strengthen his point that there is no concrete definition of authenticity.
Conversation Analysis (CA) is the study of talk-within-interaction that attempts to describe the orderliness, structure and sequential patterns of interaction in conversation. It is a method of qualitative analysis developed by Harvey Sacks with the aid of Emmanuel Schegloff and Gail Jefferson in the late 1960s to early 1970s. Using the CA frame of mind to view stories shows us that what we may think to be simplistic relaying of information or entertaining our friends is in fact a highly organised social phenomena that is finely tuned in a way that expresses the teller’s motivation behind the talk. (Hutchby & Wooffitt, 2011). It is suggested that CA relies on three main assumptions; talk is a form of social action, action is structurally organised, talk creates and maintains inter-subjectivity (Atkinson & Heritage, 1984).
In this case study I will be investigating the key features of the role and work of the actor Mekhi Phifer. Throughout this case study I will be looking into great detail about Mekhi's Phifer's life and early career , answering the following questions, some of which are ‘what qualifications, training routes and strategies did he take and did he participate in any CPD’,and ‘has he used any practical skills such as planning and responding to qualities needed to succeed in other professions’ and various other questions which may give me a better incite to why and how he decided to become an actor and how he became successful.
In his article Stars as a Cinematic Phenomenon, he used the ‘photo effect’ conception of Roland Barthes to examine the present/ absent paradox of stars. He proposed influential qualitative distinctions in between stardom in films and television. He argued that ‘Stars are incomplete images outside the cinema: the performance of the film is the moment of completion of images in subsidiary circulation, in newspapers, fanzines, etc. Further, a paradox is present in these subsidiary forms. The star is at once ordinary and extraordinary, available for desire and unattainable. This paradox is repeated and intensified in cinema by the regime of presence-yet-absence that is the filmic image’(1992). Therefore, the impractical mode of ‘this is was’ on nature of stardom ‘awakens a series of psychic mechanisms which involve various impossible images’, such as ‘the narcissistic experience of the mirror phase’(1992). Ellis then continued to indicate televisual stardom, which is more current or ‘immediate’ than cinematic fame. He argued that ‘What television does present is the “personality”. The personality is someone who is famous for being famous and is famous only in so far as he or she makes frequent television appearances… In some ways, they are the opposite of stars, agreeable voids rather than sites of conflicting meanings’. Ellis’ thesis definitely points out the differences between cinema and television fame, due to the multimedia and transmedia of current era implies a much more diverse and unpredictable relationship in between stars’ images in any kind of
The concept of authenticity has its roots in Greek philosophy (“To thine own self be true”). Researchers (Harter, 2002; Erickson, 1995) have provided excellent reviews of the origins and history of authenticity within the fields of philosophy and psychology. The term authenticity as used here refers to “owning one’s personal experiences, be they thoughts, emotions, needs, wants, preferences, or beliefs, processes captured by the injunction to know oneself and further implies that one acts in accord with the true self, expressing oneself in ways that are consistent with inner thoughts and feelings” (Harter, 2002). Martin (1986) perceives authenticity as avoidance of self-deception
Thompson, John O., ‘Screen Acting and the Commutation Test’ in Gledhill, Christine (ed.), Stardom: Industry of Desire (London: Routledge, 1991), p.183-197
Movie stars. They are celebrated. They are perfect. They are larger than life. The ideas that we have formed in our minds centered on the stars that we idolize make these people seem inhuman. We know everything about them and we know nothing about them; it is this conflicting concept that leaves audiences thirsty for a drink of insight into the lifestyles of the icons that dominate movie theater screens across the nation. This fascination and desire for connection with celebrities whom we have never met stems from a concept elaborated on by Richard Dyer. He speculates about stardom in terms of appearances; those that are representations of reality, and those that are manufactured constructs. Stardom is a result of these appearances—we actually know nothing about them beyond what we see and hear from the information presented to us. The media’s construction of stars encourages us to question these appearances in terms of “really”—what is that actor really like (Dyer, 2)? This enduring query is what keeps audiences coming back for more, in an attempt to decipher which construction of a star is “real”. Is it the character he played in his most recent film? Is it the version of him that graced the latest tabloid cover? Is it a hidden self that we do not know about? Each of these varied and fluctuating presentations of stars that we are forced to analyze create different meanings and effects that frame audience’s opinions about a star and ignite cultural conversations.
This paper aims to explore the different reasons behind people having different personas in Twitter and real-life through a look at how the social networking site provides a unique opportunity for self...
Spectator expectations and previous viewing experience can influence responses in a number of ways. Spectator expectations can be formed by genre and stars. An example of this is ‘The Greatest Showman’ (2017), a musical that features a number of stars in its cast such as Zac Efron, who is well known for his role as Troy Bolton in the ‘High School Musical’ franchise, and Hugh Jackman who has starred in action films, but also in the film adaptation of the musical ‘Les Miserables’. Through previous viewing experiences spectators will have formed expectations for ‘The Greatest Showman’ based on what they know to expect from musicals and from the stars involved. Though Zac Efron began his career through musicals, he had not starred in another musical
The climate of genuine dialogue, what I have to say at any one time already has in me the character of something that I