Presentational acting and Representational acting

of a camera day and night on end, but in the end they are primarily similar. Ranging from their blooming popularity, to their movement and believability, film and stage acting are both beautiful and unique in many ways. In Uta Hagen’s Respect for Acting she uses the words of Sanford Meisner. He generates his own definition of acting as “the ability to live truthfully under imaginary circumstances” (Meisner).…

an adaptation of an Alfred Hitchcock movie that was based on a novel written by John Buchan. The play was adapted by Partick Barlow and directed by David Belew. The type of plot that was followed was a cinematic with some presentational elements. Overall, the presentational elements paired with the comical elements of the play worked very well together and created a delightful experience. The play started off with the main character Richard Hannay (Edward Fraim), who was English, sitting on…

The silent cinema offers a treasure grove for the study of film acting. In the absence of sound, it shows performers constructing their respective characters by only using their bodies, not their voices. For this reason, silent cinema demands maximum expressiveness from actors. Rather than conveying their emotions by means of words, performers of the silent era knew how to express their feelings through gestures and facial expressions in such a manner that their feelings could be easily…

The production of In the Blood would be classified as a mix between “outside” (external/presentational) and “inside” (or internal/representational). This is an effective strategy because it keeps the audience involved and makes them pay attention to the plot. As Cohen says, “Great acting, therefore, comes from both the inside and the outside”. To continue, according to Robert Cohen, “Presentational performers directly and continuously acknowledge the presence of audience members by singing to…

In Hollywood, stars are not only known for acquiring plentiful identities, but also several distinctive types of identities, which are determined by the diverse traits of their characters, along with the various characters that they depict (Shingler, 121). This has made it fundamentally impossible to distinguish between the star, the character, the private personality and the public persona of the actor, especially since these distinct and overlapping identities are both exposed and concealed at…