Carolina Frittoli
Candidate Number 714
March 28th 2014
Uta Hagen - Substitution / Transference
Substitution / Transference is the process of incorporating your own experience in life in theatre. Finding counterparts such as your experiences with people, place and interactive things in a performance. Personalization can be achieved with this technique and make a great combination of personal experience and imagination. Actors use this technique to deeply get into character rather than making a facade to be the character. Realism and naturalism was found in this technique by having the actors emotion truly come out as themselves. Uta Hagen herself believed in that being a character is bad acting however, becoming the character was a great one.
Uta Hagen born on June 12th 1919, was a German-born American actress and a drama teacher who passed away on January 14th 2004 at age 84. Uta Hagen found herself in the theatrical element when she first joined a production Wisconsin High School finding her interest in theatre. Hagen started to develop deeper interest in theatre and started studying acting at Royal Academy of Dramatic Art. After leaving New York spending just one semester at her University, she got her first professional role of Hamlet. From that point in her life, she started to get more and more involved in different play and started to make goals in where she wanted to work which made her a great achiever and a actress. Uta Hagen was on the hollywood blacklist where she found opportunities to get involved in acting in several different theatres. Hagen showed involvement in broadway, television, movies and continuously rise as an actress. Hagen has achieved the Tony Award several times and was nominated to the American The...
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...ts to be comfortable and able to show their true selves as Uta Hagen wanted them to be.
Uta Hagen made the technique substitution / transference worldwide, having different practitioners and teachers to be able to share with their own students. A great thing to think about during this technique as an actor / student is what are you transferencing? Even if the student was to learn this technique for the first time, this technique can be easily used by just being yourself within the character. The actor is asked to become between imagination and reality. Using their own experience and inner self to become a new person. Uta Hagen wanted the real talent in an actor to shine through by having a transparent coating between the actor and the character. Substitution / transference was a great technique that Uta Hagen developed and was a great actor and a theatrical teacher.
The media was all over the change in society and came out saying how the style was more comfortable compared to the cumbersome and restrictive style before (8). An anonymous person states this about the change in the past, “revealing clothing and visible cosmetics worn by young women were the cause, or at least a consequence, of this new conception of female sexuality” (qtd. in Cleve 2). Another anonymous person states, “They feel that beauty is not incompatible with modesty.” (qtd.
In the article, “The Fashion Industry: Free to Be an Individual” by Hanna Berry, Berry discusses how for decades women have been told to use certain products and that if they used those products they would be beautiful. Women over the years have believed this idea and would purchase items that promised to make them prettier, thinner, smarter and even more loved. However, in reality it was never what they wore on their bodies that helped them be any of those things; but what it did help with was to empower women to become fearless and bold by what they chose to wear on their bodies as a form of expression.
But there is underlying tension in Lancaster's argument and make-overs on talk shows. Instead of made-over guests choosing their type of dress and performance, they are usually shuffled into these roles by a team of television producers, make-up artists, stylists, family and friends, and audience members. Often, talk show make-overs reinforce our rigidly constructed ideas of what is "masculine" and "feminine" by highlighting the taboo of stepping out of these roles and re-constructing a person's performance to fit the correct social mold.
...ete themselves. This is evidence of the human drive for success in society. People look to both athletes and actors to be successful, and, as social creatures, the athlete or performer desires to meet those expectations. Ritual and magic can be found in so many different areas of culture, from religion to entertainment, across every nation. It might seem silly that actors choose to observe bizarre pre show rituals, but they’re not really any different than what an athlete does before a game, or what a tribal child will do before adulthood. Everyone is trying to create their own success, despite factors out of their control.
From a young age, Eva had aspirations of becoming a famous actress. She enjoyed the theatre, and often put on small performances with her sister Erminda. When Eva was fifteen, she moved to Buenos Aires to pursue her interest in theater, a risky pursuit, because finding work and achieving success were not guaranteed. Fortunately, she was successful in finding work. She performed small, low-paying jobs until she captured her fir...
... gave them the edge. I personally feel different when I wear different types of clothes. The types of clothes you are willing to wear define the limits of your attitude. The raunchy costumes allow the performers to become bad, sexy and scandalous.
...xt of femininity on screen, we pay to see these women because they are truly lovely in every sense, “and to experience an inner radiance that may find its form in outward grace” (Entertainment Weekly 65).
Before and during her rapid rise to Hollywood stardom, Temple’s family played an important role in her childhood. Born in Santa Monica, California on April 23, 1928, Temple was welcomed into the world by her parents and two older brothers. Mr. George Temple worked as banker while Mrs. Gertrude Temple devoted her time to nurturing her baby girl, since her two older sons, George Jr. and John, were already independent teenagers (Dubas 7-8). ...
Joan Crawford, whose real name is Lucille Fay LeSeur, was born in San Antonio, Texas, in 1905. She got her stage name from the executives of Metro-Goldwyn-Mayer (MGM), after working with them in their movies. Before all the fame, her life before that wasn’t so great. She was treated badly while she was in school and at home. The only happy thing about her childhood was dancing for the kids in her neighborhood. Her stepfather introduced her into the life of dancing. He got her to love dancing and soon she was hooked, doing her own little shows. That pushed her to become better and reach for her goals. Her career didn’t jump off to a great start. She started off dancing for traveling men. Crawford then slowly moved up the scale by becoming a chorus-girl in New York City. To stay a chorus-girl, she worked in clubs so she could pay for it. Her first attempt at being an actress didn’t work. When she finally got a chance to become a Hollywood actress, it did not get her anywhere either. She was rejected so many times that she sta...
characters into actions that moved the plot, nor did it change them in any way. Her
“Hollywood is an industry that gravitates toward trends, but the natural hair movement has gone unnoticed and unaddressed on small screens all across the country” (Gordon, 2015, para. 4). Recently, the shows that are rated high, black women are wearing weaves and wigs instead of their natural, unprocessed hair. When analyzing Olivia Pope from scandal or Gabrielle Union from Being Mary Jane we all see that they obviously wear weaves and wigs. Even though natural hair is missing from hit TV shows, some stars, such as Lupita Nyong’o, the 12 Years a Slave star has strutted the red carpet with their natural hair on display. Only time will tell when more roles will feature women like Tracee Ellis Ross; starring in ABC’s new comedy Black–ish, sporting the big natural hairstyles that more and more Black women have been embracing. I believe actresses have fear of being limited by their natural hairstyles and that’s why weaves and wigs continue to dominate the
Underneath the physical lies the actor's presence. The intrapersonal unconsciously comes through in the form of a persona that the audience can further relate to.
...nything, the colour forgives the few extra pounds, compliments the figure and becomes a canvas of self expression and individuality.
Often, actors fight against the staging or movement direction they are given; actors must be able to justify movement within their own mind in order to perform it authentically. Theater directors must be mindful of both the picturization of a moment and its sincerity; bridging the two can be a difficult task. Nevertheless, it is my job to honor the actor's instincts and create an eye-pleasing visual moment. Approaching this dilemma, I always start
...r became more creative person in the fashion shoot, after the designer. The overall photograph would sell your garment to the best ability that the photographer could achieve. It was not just about being a beautiful model in the photograph, there had to be other ways of making the photograph appealing than the simple lacklustre way of being beautiful. Although, every woman wants to be beautiful, the photographer wanted to challenge the appearance of beauty. And also challenge the way we looked at people that were not beautiful, but had a unique quality to them. The fashion photographer had a lot of power in Fashion; they could make a normal street person become the key icon for desire and envy. The photograph had the power to sell the clothes using anyone the photographer pleased, and the designer didn’t mind as long as their clothes were being recognized, and sold.