An actor (sometimes actress for female; see terminology) is a person who acts in a dramatic production and who works in film, television, theatre, or radio in that capacity. The ancient Greek word for an "actor," ''(hypokrites)'', means literally "one who interprets"; in this sense, an actor is one who interprets a dramatic character.

Terminology

After 1660, when women first appeared on stage, ''actor'' and ''actress'' were initially used interchangeably for female performers, but later, influenced by the French ''actrice'', ''actress'' became the usual term. The etymology is a simple derivation from ''actor'' with ''ess'' added. The word ''actor'' refers to a person who acts regardless of gender, and "is increasingly preferred", while ''actress'' refers specifically to a female person who acts. ''Actress'' "remains in general use", although in a survey of a "wide cross-section of current British English", compiled in 2010, ''actor'' was almost twice as commonly found as ''actress''. Within the profession, however, the re-adoption of the neutral term dates to the 1950s–60s, the post-war period when women's contribution to cultural life in general was being re-evaluated. ''Actress'' remains the common term used in major acting awards given to female recipients.

The gender-neutral term "player" was common in film in the early days of the Motion Picture Production Code with regards to the cinema of the United States, but is now generally deemed archaic. However, it remains in use in the theatre, often incorporated into the name of a theatre group or company (such as the East West Players).

History

The first recorded case of an actor performing took place in 534 BC (though the changes in calendar over the years make it hard to determine exactly) when the Greek performer Thespis stepped on to the stage at the ''Theatre Dionysus'' and became the first known person to speak words as a character in a play or story. Prior to Thespis' act, stories were only known to be told in song and dance and in third person narrative. In honour of Thespis, actors are commonly called ''Thespians''. Theatrical legend to this day maintains that Thespis exists as a mischievous spirit, and disasters in the theatre are sometimes blamed on his ghostly intervention.

Actors were traditionally not people of high status, and in the Early Middle Ages travelling acting troupes were often viewed with distrust. In many parts of Europe, actors could not even receive a Christian burial, and traditional beliefs of the region and time period held that this left any actor forever condemned. However, this negative perception was largely reversed in the 19th and 20th centuries as acting has become an honoured and popular profession and art.

Techniques

Method acting

Method acting is a technique developed from the acting 'system' created in the early 20th century by Konstantin Stanislavski in his work at the Moscow Art Theatre and its studios. The Group Theatre first popularised the Method in the 1930s; it was subsequently advanced and developed in new directions by Stella Adler, Sanford Meisner, Uta Hagen, Lee Strasberg (at the Actors Studio in the 1940s and 50s), and others. In Stanislavski's system', the actor analyzes the character in order to play him or her with psychological realism and emotional authenticity. Using the Method, an actor may recall emotions or reactions from his or her own life and use them to identify with the character being portrayed.

Method actors are often characterized as immersing themselves so totally in their characters that they continue to portray them even off-stage or off-camera for the duration of the project. However, this is a popular misconception. While some actors do employ this approach, it is generally not taught as part of the Method. Stella Adler, who was a member of the Group Theatre, along with Strasberg, emphasised a different approach of using creative imagination.

Method acting offers a systematic form of actor training in which the actor's sensory, psychological, and emotional abilities are developed; it revolutionized theatre in the United States.

Presentational and representational acting

Presentational acting refers to a relationship between actor and audience, whether by direct address or indirectly by specific use of language, looks, gestures or other signs indicating that the character or actor is aware of the audience's presence. (Shakespeare's use of punning and wordplay, for example, often has this function of indirect contact.)

In representational acting, "actors want to make us 'believe' they are the character; they pretend." The illusion of the fourth wall with the audience as voyeurs is striven for.

As opposite gender

In the past, only men could become actors in some societies. In the ancient Greece and Rome and the medieval world, it was considered disgraceful for a woman to go on the stage, and this belief persisted until the 17th century, when in Venice it was broken. In the time of William Shakespeare, women's roles were generally played by men or boys.

When an eighteen-year Puritan prohibition of drama was lifted after the English Restoration of 1660, women began to appear on stage in England. Margaret Hughes is credited by some as the first professional actress on the English stage. This prohibition ended during the reign of Charles II in part due to the fact that he enjoyed watching actresses on stage. The first occurrence of the term ''actress'' was in 1700 according to the OED and is ascribed to Dryden.

In Japan, men (onnagata) took over the female roles in kabuki theatre when women were banned from performing on stage during the Edo period. This convention has continued to the present. However, some forms of Chinese drama have women playing all the roles.

In modern times, women sometimes play the roles of prepubescent boys. The stage role of Peter Pan, for example, is traditionally played by a woman, as are most principal boys in British pantomime. Opera has several "breeches roles" traditionally sung by women, usually mezzo-sopranos. Examples are Hansel in ''Hänsel und Gretel'', Cherubino in ''The Marriage of Figaro'' and Octavian in Der Rosenkavalier.

Women in male roles are uncommon in film with the notable exceptions of the films ''The Year of Living Dangerously'' and ''I'm Not There''. In the former film Linda Hunt played the pivotal role of Billy Kwan, for which she received the Academy Award for Best Supporting Actress. In the latter film Cate Blanchett portrayed Jude Quinn, a representation of Bob Dylan in the sixties, for which she was nominated for the Academy Award for Best Supporting Actress. Women playing men in live theatre is particularly common in presentations of older plays, such as those of Shakespeare, that have large numbers of male characters in roles where the gender no longer matters in modern times.

Having an actor dress as the opposite sex for comic effect is also a long-standing tradition in comic theatre and film. Most of Shakespeare's comedies include instances of overt cross-dressing, such as Francis Flute in ''A Midsummer Night's Dream''. The movie ''A Funny Thing Happened on the Way to the Forum'' stars Jack Gilford dressing as a young bride. Tony Curtis and Jack Lemmon famously posed as women to escape gangsters in the Billy Wilder film ''Some Like It Hot''. Cross-dressing for comic effect was a frequently used device in most of the thirty Carry On films. Dustin Hoffman and Robin Williams have each appeared in a hit comedy film (''Tootsie'' and ''Mrs. Doubtfire'', respectively) in which they played most scenes dressed as a woman.

Occasionally, the issue is further complicated, for example, by a woman playing a woman acting as a man pretending to be a woman, like Julie Andrews in ''Victor/Victoria'', or Gwyneth Paltrow in ''Shakespeare in Love''. In ''It's Pat: The Movie'', filmwatchers never learn the gender of the androgynous main characters Pat and Chris (played by Julia Sweeney and Dave Foley).

A few roles in modern films, plays and musicals are played by a member of the opposite sex (rather than a character cross-dressing), such as the character Edna Turnblad in ''Hairspray''—played by Divine in the original film, Harvey Fierstein in the Broadway musical, and John Travolta in the 2007 movie musical. Linda Hunt won an Academy Award for Best Supporting Actress for playing Billy Kwan in ''The Year of Living Dangerously''. Felicity Huffman was nominated for an Academy Award for Best Actress for playing Bree Osbourne (a male-to-female transsexual) in ''Transamerica''.

See also

Acting

Bit part

Body double

Cameo appearance

Casting (performing arts)

Cast member

Celebrity

Character actor

Charisma

Child actor

Drama school

Dramatis personæ

Ensemble cast

Extra (actor)

GOTE

Improvisational theatre

Leading actor

Lists of actors

List of awards in theatre

List of film awards

Master of Fine Arts

Matinee idol

Method acting

Meisner technique

Mime

Movie star

Movie studio

Pornographic actor

Practical Aesthetics

Pre-production

Presentational acting and Representational acting

Q Score

Stunt work

Supporting actor

Thespis

Understudy

Vaudeville

Viewpoints

Voice Actor

References

Sources

Csapo, Eric, and William J. Slater. 1994. ''The Context of Ancient Drama.'' Ann Arbor: The U of Michigan P. ISBN 0-472-08275-2.

Elam, Keir. 1980. ''The Semiotics of Theatre and Drama''. New Accents Ser. London and New York: Methuen. ISBN 0-416-72060-9.

Weimann, Robert. 1978. ''Shakespeare and the Popular Tradition in the Theater: Studies in the Social Dimension of Dramatic Form and Function.'' Ed. Robert Schwartz. Baltimore and London: The Johns Hopkins University Press. ISBN 0-8018-3506-2.

Further reading

''An Actor's Work'' by Constantin Stanislavski

''A Dream of Passion: The Development of the Method'' by Lee Strasberg (Plume Books, ISBN 0-452-26198-8, 1990)

''Sanford Meisner on Acting'' by Sanford Meisner (Vintage, ISBN 0-394-75059-4, 1987)

''Letters to a Young Actor'' by Robert Brustein (Basic Books, ISBN 0-465-00806-2, 2005).

''The Empty Space'' by Peter Brook

''The Technique of Acting'' by Stella Adler

External links

Actors' Equity Association (AEA): a union representing U. S. theatre actors and stage managers.

American Federation of Television and Radio Artists (AFTRA): a union representing U. S. television and radio actors and broadcasters (on-air journalists, etc.).

British Actors' Equity: a trade union representing UK artists, including actors, singers, dancers, choreographers, stage managers, theatre directors and designers, variety and circus artists, television and radio presenters, walk-on and supporting artists, stunt performers and directors and theatre fight directors.

Media Entertainment & Arts Alliance: an Australian/New Zealand trade union representing everyone in the media, entertainment, sports, and arts industries.

Screen Actors Guild (SAG): a union representing U. S. film and TV actors.

Category:Entertainment occupations Category:Acting Category:Theatrical professions Category:Television terminology

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name	Jo Ho
birth date	1988
birth place	Dagenham, Essex
occupation	writer, director
yearsactive	2009—
website	http://www.visiblechinese.com/website/profile/jo_ho }}

Jo Ho is a British-born Chinese screenwriter and director, best known for creating the BBC series ''Spirit Warriors''. She has been credited as the first Chinese person in the UK to have successfully created an original television drama series.

Early life

Jo was born in Dagenham, Essex, and studied Mixed Media Arts at the University of Westminster.

Career

Jo Ho received her first credit working in the wardrobe and makeup department in 1997. She went on to work as a production manager on several projects, before creating her first short film ''Isolation 9'' in 2006. The film won the Audience Festival award at the Buffalo Black & Asian Short Film Festival. Her next short film ''Monkey Nut Tales'' was funded by the UK Film Council and Film London, as part of the 2006 Digital Shorts Pulse Scheme.

In 2008, Ho was a judge on the BBC Bites Scheme panel.

After several years of development, ''Spirit Warriors'' began filming in 2009. The series aired in 2010, on BBC HD, BBC Two, and CBBC, and was nominated for several awards, including Best Children's Programme at the 2011 Broadcast Awards. Ho won the Women in Film and Television's New Talent Award and was nominated for the Cultural Diversity Network Award for Best Breakthrough Production Talent.

Since ''Spirit Warriors'', Ho has worked as a storyline consultant on another BBC series called ''Bishaash'', a supernatural fantasy set in Bangladesh, and is in pre-production for several feature films.

Jo Ho is a member of BAFTA.

Awards

Winner of the Women In Film and Television's 'New Talent' Award (2010)

Nominated for CDN's 'Best Breakthrough Production Talent' Award

Big Ben Award for 'Outstanding Achievement by a Chinese Woman in the UK Film and Television Industry’

References

Category:1988 births Category:Living people Category:British screenwriters Category:British television directors Category:People from Essex Category:Alumni of the University of Westminster