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Screen Actors Guild Award | |
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The Actor Statuette |
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Awarded for | Excellence in film and television by members of the Screen Actors Guild |
Presented by | Screen Actors Guild |
Country | United States |
First awarded | 1995 |
Official website | http://www.sagawards.org/ |
A Screen Actors Guild Award (also known as a SAG Award) is an accolade given by the Screen Actors Guild (SAG) to recognize outstanding performances by its members. The statuette given, a nude male figure holding both a mask of comedy and a mask of tragedy, is called "The Actor".[1] It is 16 inches tall, weighs over 12 pounds, cast in solid bronze, and produced by the American Fine Arts Foundry in Burbank, California.[2]
SAG Awards have been one of the major awards events in Hollywood since 1995. Nominations for the awards come from 4200 randomly selected members of the union, with the full membership (120,000 as of 2007) available to vote for the winners. The awards have been televised for the past several years on TNT, but now also airs on TBS.
The inaugural SAG Awards aired live on February 25, 1995 from Stage 12, Universal Studios. The second SAG awards aired live from the Santa Monica Civic Auditorium, while subsequent awards have been held at the Shrine Exposition Center.[3] Bob Hope was given the first award.
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(minimum of 2 awards)
These are the artists and shows that have received the most awards over the years, including all awards up to 2012.
(Minimum of 10 nominations)
Overall nominations | Actor/Actress | Film | Television | ||||||||
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Leading | Supporting | Ensemble | Overall | Drama | Comedy | Ensemble Drama | Ensemble Comedy | Miniseries | Overall | ||
19 | David Hyde Pierce | 1 | 1 | 8 | 10 | 18 | |||||
18 | Kelsey Grammer | 0 | 8 | 10 | 18 | ||||||
17 | Edie Falco | 0 | 7 | 3 | 7 | 17 | |||||
16 | Alec Baldwin | 1 | 2 | 3 | 6 | 5 | 2 | 13 | |||
16 | Julianna Margulies | 0 | 6 | 10 | 16 | ||||||
15 | James Gandolfini | 1 | 1 | 7 | 7 | 14 | |||||
15 | Michael C. Hall | 0 | 6 | 9 | 15 | ||||||
15 | Allison Janney | 4 | 4 | 5 | 6 | 11 | |||||
13 | Steve Carell | 1 | 1 | 6 | 6 | 12 | |||||
13 | George Clooney | 3 | 1 | 2 | 6 | 2 | 5 | 7 | |||
13 | Martin Sheen | 2 | 2 | 5 | 6 | 11 | |||||
13 | Meryl Streep | 8 | 4 | 12 | 1 | 1 | |||||
12 | Cate Blanchett | 2 | 4 | 6 | 12 | 0 | |||||
12 | Anthony Edwards | 0 | 5 | 7 | 12 | ||||||
12 | Sean Hayes | 0 | 6 | 5 | 1 | 12 | |||||
12 | Lisa Kudrow | 0 | 4 | 8 | 12 | ||||||
12 | Megan Mullally | 0 | 7 | 5 | 12 | ||||||
12 | Kyra Sedgwick | 0 | 7 | 5 | 12 | ||||||
11 | Judi Dench | 4 | 3 | 3 | 10 | 1 | 1 | ||||
11 | Jane Leeves | 0 | 11 | 11 | |||||||
11 | Julia Louis-Dreyfus | 0 | 7 | 4 | 11 | ||||||
11 | Kate Winslet | 4 | 3 | 3 | 10 | 1 | 1 | ||||
10 | Lorraine Bracco | 0 | 3 | 7 | 10 | ||||||
10 | Tina Fey | 0 | 5 | 5 | 10 | ||||||
10 | Peri Gilpin | 0 | 10 | 10 | |||||||
10 | Helen Hunt | 1 | 1 | 2 | 4 | 4 | 8 | ||||
10 | John Mahoney | 0 | 10 | 10 |
(minimum of 2 awards)
Overall wins | Film title | Awards won | ||||
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Leading Male | Supporting Male | Leading Female | Supporting Female | Cast | ||
3 | American Beauty | Kevin Spacey | – | Annette Bening | – | American Beauty |
Chicago | – | – | Renée Zellweger | Catherine Zeta-Jones | Chicago | |
The Help | – | – | Viola Davis | Octavia Spencer | The Help | |
2 | Apollo 13 | – | Ed Harris | – | – | Apollo 13 |
As Good as It Gets | Jack Nicholson | – | Helen Hunt | – | – | |
Dreamgirls | – | Eddie Murphy | – | Jennifer Hudson | – | |
Erin Brockovich | – | Albert Finney | Julia Roberts | – | – | |
The Fighter | – | Christian Bale | – | Melissa Leo | – | |
Gosford Park | – | – | – | Helen Mirren | Gosford Park | |
Inglourious Basterds | – | Christoph Waltz | – | – | Inglourious Basterds | |
The King's Speech | Colin Firth | – | – | – | The King's Speech | |
Million Dollar Baby | – | Morgan Freeman | Hilary Swank | – | – | |
No Country for Old Men | – | Javier Bardem | – | – | No Country for Old Men | |
Shakespeare in Love | – | – | Gwyneth Paltrow | – | Shakespeare in Love | |
Traffic | Benicio del Toro | – | – | – | Traffic |
(minimum of 3 nominations)
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File:SAG logo.png | |
Founded | 1933 |
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Date dissolved | March 30, 2012 |
Merged into | SAG-AFTRA |
Members | 105,368 |
Country | United States |
Affiliation | AAAA (AFL-CIO), FIA |
Key people | Ken Howard, Co-President David White, National Executive Director Amy Aquino, Secretary-Treasurer Ned Vaughn, 1st Vice President Mike Hodge, 2nd Vice President David Hartley Margolin, 3rd Vice President |
Office location | Hollywood, Los Angeles, California |
Website | www.sag.org |
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Full name | American Federation of Television and Radio Artists |
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Founded | 1952 |
Date dissolved | March 30, 2012 |
Merged into | SAG-AFTRA |
Members | 65,744 |
Country | United States |
Affiliation | AFL-CIO, IFJ, FIA |
Key people |
Roberta Reardon, Co-President (National Executive Co-Director) |
Office location | New York, New York; 5757 Wilshire Blvd., Los Angeles, California; San Francisco, California |
Website | www.aftra.com |
The Screen Actors Guild (SAG) was an American labor union representing over 105,000 film and television principal and background performers worldwide. On March 30, 2012, the union leadership announced that the SAG membership voted to merge with AFTRA, the new union will be called SAG-AFTRA. The new union will have more than 150,000 members.[1]
According to SAG's Mission Statement, the Guild seeks to: negotiate and enforce collective bargaining agreements that establish equitable levels of compensation, benefits, and working conditions for its performers; collect compensation for exploitation of recorded performances by its members, and provide protection against unauthorized use of those performances; and preserve and expand work opportunities for its members.[2]
The Guild was founded in 1933 in an effort to eliminate exploitation of actors in Hollywood who were being forced into oppressive multi-year contracts with the major movie studios that did not include restrictions on work hours or minimum rest periods, and often had clauses that automatically renewed at the studios' discretion. These contracts were notorious for allowing the studios to dictate the public and private lives of the performers who signed them, and most did not have provisions to allow the performer to end the deal.[citation needed] [3]
The Screen Actors Guild is associated with the Associated Actors and Artistes of America (AAAA), which is the primary association of performer's unions in the United States. The AAAA is affiliated with the AFL-CIO. SAG claims exclusive jurisdiction over motion picture performances, and shares jurisdiction of radio, television, Internet, and other new media with its sister union AFTRA, with which it shares 44,000 dual members.[4] Internationally, the SAG is affiliated with the International Federation of Actors.
In addition to its main offices in Hollywood, SAG also maintains local branches in several major US cities, including: Atlanta, Boston, Chicago, Dallas, Denver, Detroit, Honolulu, Houston, Las Vegas, Miami, Nashville, New York City, Philadelphia, Phoenix, Portland, Salt Lake City, San Diego, San Francisco, Seattle, and Washington, D.C.
Since 1995, the guild has annually awarded the Screen Actors Guild Awards, which are considered an indicator of success at the Academy Awards.
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In 1925, the Masquers Club was formed by actors fed up with the grueling work hours at the Hollywood studios.[5] This was one of the major concerns which led to the creation of the Screen Actors Guild in 1933. Another was that the Academy of Motion Picture Arts and Sciences, which at that time arbitrated between the producers and actors on contract disputes, had a membership policy which was by invitation only.
A meeting in March 1933 of six actors (Berton Churchill, Charles Miller, Grant Mitchell, Ralph Morgan, Alden Gay, and Kenneth Thomson) led to the guild's foundation. Three months later, three of the six and eighteen others became the guild's first officers and board of directors: Ralph Morgan (its first president), Alden Gay, Kenneth Thomson, Alan Mowbray (who personally funded the organization when it was first founded), Leon Ames, Tyler Brooke, Clay Clement, James Gleason, Lucile Webster Gleason, Boris Karloff (reportedly influenced by long hours suffered during the filming of Frankenstein), Claude King, Noel Madison, Reginald Mason, Bradley Page, Willard Robertson, Ivan Simpson, C. Aubrey Smith, Charles Starrett, Richard Tucker, Arthur Vinton, Morgan Wallace and Lyle Talbot.
Many high-profile actors refused to join SAG initially. This changed when the producers made an agreement amongst themselves not to bid competitively for talent. A pivotal meeting, at the home of Frank Morgan (Ralph's brother, who played the title role in The Wizard of Oz), is what gave SAG its critical mass. Prompted by Eddie Cantor's insistence, at that meeting, that any response to that producer's agreement help all actors, not just the already established ones, it took only three weeks for SAG membership to go from around 80 members to more than 4,000. Cantor's participation was critical, particularly because of his friendship with the recently-elected President Franklin Roosevelt. After several years and the passage of the National Labor Relations Act, the producers agreed to negotiate with SAG in 1937.
Actors known for their early support of SAG (besides the founders) include Edward Arnold, Humphrey Bogart, James Cagney, Dudley Digges, Porter Hall, Paul Harvey, Jean Hersholt, Russell Hicks, Murray Kinnell, Gene Lockhart, Bela Lugosi, David Manners, Fredric March, Adolphe Menjou, Chester Morris, Jean Muir, George Murphy, Erin O'Brien-Moore, Irving Pichel, Dick Powell, Edward G. Robinson, Edwin Stanley, Gloria Stuart, Lyle Talbot, Franchot Tone, Warren William, and Robert Young.
In October 1947, a list of suspected communists working in the Hollywood film industry were summoned to appear before the House Committee on Un-American Activities (HUAC), which was investigating Communist influence in the Hollywood labor unions. Ten of those summoned, dubbed the "Hollywood Ten", refused to cooperate and were charged with contempt of Congress and sentenced to prison. Several liberal members of SAG, led by Humphrey Bogart, Lauren Bacall, Danny Kaye, and Gene Kelly formed the Committee for the First Amendment (CFA) and flew to Washington, DC, in late October 1947 to show support for the Hollywood Ten. (Several of the CFA's members, including Bogart, Edward G. Robinson, and John Garfield later recanted, saying they had been "duped", not realizing that some of the Ten were really communists.)
The president of SAG – future United States President Ronald Reagan – also known to the FBI as Confidential Informant "T-10", testified before the committee but never publicly named names. Instead, according to an FBI memorandum in 1947: "T-10 advised Special Agent [name deleted] that he has been made a member of a committee headed by Mayer, the purpose of which is allegedly is to 'purge' the motion-picture industry of Communist party members, which committee was an outgrowth of the Thomas committee hearings in Washington and subsequent meetings . . . He felt that lacking a definite stand on the part of the government, it would be very difficult for any committee of motion-picture people to conduct any type of cleansing of their own household".[6] Subsequently a climate of fear, enhanced by the threat of detention under the provisions of the McCarran Internal Security Act, permeated the film industry. On November 17, 1947, the Screen Actors Guild voted to force its officers to take a "non-communist" pledge. On November 25 (the day after the full House approved the ten citations for contempt) in what has become known as the Waldorf Statement, Eric Johnston, president of the Motion Picture Association of America (MPAA), issued a press release: "We will not knowingly employ a Communist or a member of any party or group which advocates the overthrow of the government of the United States by force or by any illegal or unconstitutional methods."
None of those blacklisted were proven to advocate overthrowing the government – most simply had Marxist or socialist views. The Waldorf Statement marked the beginning of the Hollywood blacklist that saw hundreds of people prevented from working in the film industry. During the height of what is now referred to as McCarthyism, the Screen Writers Guild gave the studios the right to omit from the screen the name of any individual who had failed to clear his name before Congress. At a 1997 ceremony marking the 50th anniversary of the Blacklist, the Guild's president made this statement:
Only our sister union, Actors Equity Association, had the courage to stand behind its members and help them continue their creative lives in the theater. ... Unfortunately, there are no credits to restore, nor any other belated recognition that we can offer our members who were blacklisted. They could not work under assumed names or employ surrogates to front for them. An actor's work and his or her identity are inseparable. Screen Actors Guild's participation in tonight's event must stand as our testament to all those who suffered that, in the future, we will strongly support our members and work with them to assure their rights as defined and guaranteed by the Bill of Rights.
—Richard Masur, Hollywood Remembers the Blacklist[7]
The Screen Actors Guild Ethnic Minorities Committee was co-founded in 1972 by actors Henry Darrow, Edith Diaz, Ricardo Montalban and Carmen Zapata.[8]
The Screen Actors Guild Women's Committee was founded in 1972.
SAG members and AFTRA members voted to merge on March 30, 2012. [1]
A performer is eligible to join the Screen Actors Guild by meeting the criteria in any of the following three categories: principal performer in a SAG production, background performer (originally the "three voucher rule"), and one-year member of an affiliated union (with a principal role). For more details and restrictions, see article: Screen Actors Guild rules. The basic categories are:
Members joining the Los Angeles, New York, or Miami SAG locals are assessed an initial fee to join the Guild of $2,277. At the time of initiation, the first minimum semi-annual membership dues payment of $58 must also be paid, bringing the total amount due upon initiation into the Guild to $2,335.[9] All other SAG locals still assess initiation fees at the previous rate. Members from other locales who work in Los Angeles, New York, or Miami after joining are charged the difference between the fee they paid their local and the higher rate in those markets.
Membership dues are calculated and are due semi-annually, and are based upon the member's earnings from SAG productions. The minimum annual dues amount is $116, with an additional 1.85% of the performer's income up to $200,000. Income from $200,000 to $500,000 is assessed at 0.5%, and income from $500,000 to $1 million is assessed at 0.25%. For the calculation of dues, there is a total earnings cap at $1 million. Therefore, the maximum dues payable in any one calendar year by any single member is limited to $6,566.
SAG members who become delinquent in their dues without formally requesting a leave of absence from the Guild are assessed late penalties, and risk being ejected from the Guild and can be forced to pay the initiation fee again to regain their membership.
The SAG Constitution and Bylaws state that, "No member shall work as a performer or make an agreement to work as a performer for any producer who has not executed a basic minimum agreement with the Guild which is in full force and effect."[10] Every SAG performer agrees to abide by this, and all the other SAG rules, as a condition of membership into the Guild. This means that no SAG members may perform in non-union projects that are within SAG's jurisdiction, once they become members of the Guild. Since 2002, the Guild has pursued a policy of world-wide enforcement of Rule One, and renamed it Global Rule One.
However, many actors, particularly those who do voices for anime dubs, have worked for non-union productions under pseudonyms. For example, David Cross did voices for the non-union cartoon Aqua Teen Hunger Force, under the pseudonym "Sir Willups Brightslymoore." He acknowledged that work in an interview with SuicideGirls.[11] Such violations of Global Rule One have generally gone ignored by the Guild.
Like other guilds and associations that represent actors, SAG rules stipulate that no two members may have identical working names. An actor whose name has already been taken must choose a new name. Notable examples include Michael Keaton, Michael J. Fox and Emma Stone, whose birth names "Michael Douglas" and "Michael Fox" and "Emily Stone," respectively, were already in use.
SAG contracts with producers contain a variety of protections for Guild performers. Among these provisions are: minimum rates of pay, adequate working conditions, special protection and education requirements for minors, arbitration of disputes and grievances, and affirmative action in auditions and hiring.
All members of the Guild agree to work only for producers who have signed contracts with SAG. These contracts spell out in detail the responsibilities that producers must assume when hiring SAG performers. Specifically, the SAG basic contract specifies: the number of hours performers may work, the frequency of meal breaks required, the minimum wages or "scale" at which performers must be compensated for their work, overtime pay, travel accommodations, wardrobe allowances, stunt pay, private dressing rooms, and adequate rest periods between performances. When applicable, and with due regard to the safety of the individuals, cast and crew, women and minorities shall be considered for doubling roles and for descript and non-descript stunts on a functional, non-discriminatory basis.
Performers who meet the eligibility criteria of working a certain number of days or attaining a certain threshold in income derived from SAG productions can join the Producers Pension and Health Plans offered by the Guild. The eligibility requirements vary by age of the performer and the desired plan chosen (there are two health plans). There is also Dental, Vision, and Life & Disability coverage included as part of the two plans.[12]
The Guild secures residuals payments in perpetuity to its members for broadcast and re-broadcast of films, TV shows, and TV commercials through clauses in the basic SAG agreements with producers.
In July 1948, a strike was averted at the last minute as the SAG and major producers agreed upon a new collective bargaining contract. The major points agreed upon include: full union shop for actors to continue, negotiations for films sent direct to TV, producers cannot sue an actor for breach of contract if s/he strikes (but the guild can only strike when the contract expires).[13]
In March 1960, SAG went on strike against the 7 major studios. This was the first industry-wide strike in the 50-year history of movie making. Earlier walkouts involved production for television. The WGA had been on strike since January 31, 1960 with similar demands to the actors. The independents were not affected since they signed new contracts. The dispute rests on actors wanting to be paid 6% or 7% of the gross earnings of pictures made since 1948 and sold to television. Actors also want a pension and welfare fund.[14]
In December 1978, members of SAG went on strike for the fourth time in its 45-year history. It joined the American Federation of Television and Radio Artists in picket lines in Los Angeles and New York. The unions said that management's demand would cut actors' salaries. The argument was over filming commercials. Management agreed to up salaries from $218 to $250 per scene, but if the scene were not used at all, the actor would not be paid.[15]
In July, SAG members walked out on strike, along with AFTRA, the union for television and radio artists, and the American Federation of Musicians. The union joined the television artists in calling for a successful boycott against that year's prime-time Emmy awards. Powers Boothe was the only one of the 52 nominated actors to attend: "This is either the most courageous moment of my career or the stupidest" he quipped during his acceptance speech. The guild ratified a new pact, for a 32.25% increase in minimum salaries and a 4.5% share of movies made for pay TV, and the strike ended on October 25.[16]
The commercials strike of 2000 was extremely controversial. Some factions within SAG call it a success, asserting that it not only saved Pay-Per-Play (residuals) but it also increased cable residuals by 140% up from $1,014 to $2,460. Others suggest almost identical terms were available in negotiation without a strike. In the wake of the strike, SAG, and its sister union AFTRA, gathered evidence on over 1,500 non-members who had worked during the strike. SAG trial boards found Elizabeth Hurley and Tiger Woods guilty of performing in non-union commercials and both were fined $100,000 each.[citation needed]
The Screen Actors Guild labor dispute of 2008-2009 was a labor dispute that could have led to a strike by the Screen Actors Guild, the American labor union representing actors in the film industry. The strike would have been against the Alliance of Motion Picture and Television Producers (AMPTP), a trade organization that represents the interests of American film producers, production companies, and movie studios. The handling of royalties from the sale of films distributed through new media methods was at issue. This included royalties earned from Internet[17] distribution services such as iTunes, as well as DVD sales, neither of which are currently written into actors' contracts. The SAG contract expired on June 30, 2008 with the two sides in mutually agreeable terms.[18]
The Screen Actors Guild's New York board, which split with the union's national leadership, urged members to oppose the strike because of the worsening U.S. economy.[19][20][21][22] A faction of the Screen Actors Guild wanted the strike vote suspended indefinitely because of the economic crisis.[23] Over 100 actors wrote letters of protest to the Screen Actors Guild about a likely strike vote.[24][25][26] The Screen Actors Guild called a meeting on the New York board split on December 19, 2008.[27] Among the actors resistant were, Robert Redford and Russell Crowe. Variety reported that SAG members ratified a deal on June 9, 2009.[28]
SAG members may not work on non-union productions; many film schools have SAG Student Film Agreements with the Guild to allow SAG actors to work in their projects. SAGIndie was formed in 1997 to promote using SAG actors; SAG also has Low Budget Contracts that are meant to encourage the use of SAG members on films produced outside of the major studios and to prevent film productions from leaving the country, known as "Runaway production". In the fight against "Runaway production", the SAG National Board recently voted unanimously to support the Film and Television Action Committee (FTAC) and its 301(a) Petition which asks the US Trade Representative to investigate the current Canadian film subsidies for their violation of the trade agreements Canada already signed with the United States.
Entertainment remains among the most gender unequal industries in the United States. The National Women's Committee operates within the National Statement of Purpose to promote equal employment opportunities for its female SAG members. It also encourages positive images of women in film and television, in order to end sexual stereotypes and educate the industry about the representation of women, both in numbers and quality of representation.[Screen Actors Guild 1]
SAG Women's Committee has been dedicated to working towards strategic objectives adopted from the Fourth World Conference on Women Beijing Platform of 1995. These objectives include supporting research into all aspects of women and the media so as to define areas needing attention and action. The Women's Committee also encourages the media to refrain from presenting women as inferior beings and exploiting them as sexual objects and commodities.[Screen Actors Guild 2]
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Look up screen in Wiktionary, the free dictionary. |
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Screen may refer to:
This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article. |
An actor (sometimes actress for female; see terminology) is a person who acts in a dramatic or comic production and who works in film, television, theatre, or radio in that capacity.[1] The ancient Greek word for an "actor," ὑποκριτής (hypokrites), means literally "one who interprets";[2] in this sense, an actor is one who interprets a dramatic character.[3]
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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.[4] The word actor refers to a person who acts regardless of gender, and this term "is increasingly preferred", while actress refers specifically to a female person who acts. Actress "remains in general use",[4] 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.[5] 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.[6] Actress remains the common term used in major acting awards given to female recipients.[7]
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)[citation needed].
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.[8]
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.[9] 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.[10]
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.[citation needed]
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.[11] (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."[11] The illusion of the fourth wall with the audience as voyeurs is striven for.[12]
In the past, only men could become actors in some societies. In the ancient Greece and Rome[13] 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.[14]
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.[15] This prohibition ended during the reign of Charles II in part due to the fact that he enjoyed watching actresses on stage.[16] The first occurrence of the term actress was in 1700 according to the OED and is ascribed to Dryden.[7]
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.[citation needed]
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.
Look up actor, actress, or player in Wiktionary, the free dictionary. |