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Верзија на датум 19. октобар 2022. у 14:34

Глума је психички процес деловања појединца на сопствене карактерне особине да би искрено одговорио на задате имагинарне околности. Глумци или глумице су особе запослене у позоришту, телевизији, филму или било којем другом приповедачком медију, који казују причу кроз лик и кроз изговарање или певање писаног текста. Глума се може ослањати и на говор тела, па текст и вербална комуникација нису увек нужни.

Глума је и назив који користимо за скуп глумачких вештина помоћу којих глумац обликује лик у неком сценском делу.

Most early sources in the West that examine the art of acting (Грчки: ὑπόκρισις, hypokrisis) discuss it as part of rhetoric.^[1]

Систем глуме

Суштина глуме је потиснути себе да би могли постати неко други. Свест о томе да убеђења граде карактер, као и сећање на време када нису имали изграђен карактер глумцима помаже да схвате да се најпре морају психички вратити у своје детињство и почети да размишљају као деца. По способности да се врати у такво стање мери се квалитет глумца, неки од највећих глумаца који су глумили крајње тешке драмске улоге у ствари су омиљени дечји глумци. Из тог стања глумац полако почиње прихватати карактер лика који треба тумачити. Предрасуде и убеђења лика некада су видљива из самога текста где лик истиче своје идеале, док се у другим случајевима карактер поприма уживљавањем у сваку мисао исказану у тексту, мозаик мисли се склапа и добија се карактер. Једна од највећих грешака у размишљању глумца почетника јесте да је глума, нарочито позоришна посвећена публици. Публика је у ствари извор енергије коју глумац прихвата док је на сцени, каналише је током интеракције на подијуму и враћа публици. Најбољи начин да публика схвати поруку сцене јесте да преузме вибрације које су прошле кроз интеракцију ликова. Глума се у ствари игра за интеракцију. Интеракција глуме зрачи у свим правцима и помаже да свако осети оно што је осећао писац током писања дела.

Resumes and auditions

Actors and actresses need to make a resume when applying for roles. The acting resume is very different from a normal resume; it is generally shorter, with lists instead of paragraphs, and it should have a head shot on the back.^[2] Sometimes, a resume also contains a short 30 second to 1 minute reel displaying the actors ability's, so that the casting director can see your previous performances, if any. An actors resume should list projects they have acted in before such as plays, movies, or shows, as well as special skills and their contact information.^[3]

Auditioning is the act of performing either a monologue or sides (lines for one character)^[4] as sent by the casting director. Auditioning entails showing the actor's skills to present themselves as a different person; it may be as brief as two minutes. For theater auditions it can be longer than two minutes, or they may perform more than one monologue, as each casting director can have different requirements for actors. Actors should go to auditions dressed for the part, to make it easier for the casting director to visualize them as the character. For television or film they will have to undergo more than one audition. Oftentimes actors are called into another audition at the last minute, and are sent the sides either that morning or the night before. Auditioning can be a stressful part of acting, especially if one has not been trained to audition.

Rehearsal

Rehearsal is a process in which actors prepare and practice a performance, exploring the vicissitudes of conflict between characters, testing specific actions in the scene, and finding means to convey a particular sense. Some actors continue to rehearse a scene throughout the run of a show in order to keep the scene fresh in their minds and exciting for the audience.^[5]

Audience

A critical audience with evaluative spectators is known to induce stress on actors during performance,^[6] (see Bode & Brutten). Being in front of an audience sharing a story will makes the actors intensely vulnerable. Shockingly, an actor will typically rate the quality of their performance higher than their spectators.^[7] Heart rates are generally always higher during a performance with an audience when compared to rehearsal, however what's interesting is that this audience also seems to induce a higher quality of performance. Simply put, while public performances cause extremely high stress levels in actors (more so amateur ones), the stress actually improves the performance, supporting the idea of "positive stress in challenging situations"^[8]

Heart rate

Depending on what an actor is doing, his or her heart rate will vary. This is the body's way of responding to stress. Prior to a show one will see an increase in heart rate due to anxiety. While performing an actor has an increased sense of exposure which will increase performance anxiety and the associated physiological arousal, such as heart rate.^[9] Heart rates increases more during shows compared to rehearsals because of the increased pressure, which is due to the fact that a performance has a potentially greater impact on an actors career.^[9] After the show a decrease in the heart rate due to the conclusion of the stress inducing activity can be seen. Often the heart rate will return to normal after the show or performance is done;^[10] however, during the applause after the performance there is a rapid spike in heart rate.^[11] This can be seen not only in actors but also with public speaking and musicians.^[10]

Види још

Константин Станиславски

Референце

^ Csapo and Slater (1994, 257); hypokrisis, which literally means "acting," was the word used in discussions of rhetorical delivery.
^ „How To Make An Acting Resume That Works For You”. Daily Actor (на језику: енглески). Приступљено 2017-11-16.
^ Kantilaftis, Helen (2015-08-27). „How to Make An Actor Demo Reel”. Student Resources (на језику: енглески). Приступљено 2021-01-30.
^ „What Are the Sides for Acting Auditions? (Showbiz Term of the Day)”. www.youryoungactor.com. Приступљено 2017-11-16.
^ „Rehearsal”.
^ Bode, D; Brutten, E (1963). „A palmar sweat investigation of the effect of audience variation upon stage fright”. Speech Monographs. 30 (2): 92—96. doi:10.1080/03637756309375363.
^ Konijin, Elly A. (1991). „What's on between the actor and his audience? Empirical Analysis of emotion processes in the theatre”. Ур.: Wilson, Glenn D. Psychology and Performing Arts. Swets & Zeitlinger. ISBN 978-0312653163.
^ Richard S. Lazarus; Susan Folkman (15. 3. 1984). stress, appraisial and coping. New York Springer.
^ ^а ^б Yoshie, M (2009). „Music performance anxiety in skilled pianists: effects of social-evaluative performance situation on subjective, autonomic, and electromyographic reactions”. Exp Brain Res. 199 (2): 117—26. PMID 19701628. S2CID 12759663. doi:10.1007/s00221-009-1979-y.
^ ^а ^б Wells, Ruth (4. 10. 2012). „Matter Over Mind: A Randomised-Controlled Trial of Single-Session Biofeedback Training on Performance Anxiety and Heart Rate Variability in Musicians”. PLOS ONE. 7 (10): e46597. Bibcode:2012PLoSO...746597W. PMC 3464298 . PMID 23056361. doi:10.1371/journal.pone.0046597 .
^ McKinney, Mark (1983). „The Effects of Audience Size on High and Low Speech-Anxious Subjects During an Actual Speaking Taks”. Basic and Applied Social Psychology. 4 (1): 73—87. doi:10.1207/s15324834basp0401_6.

Литература

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Спољашње везе

Collection: "History of Acting: Gestural Acting and Realism" from the University of Michigan Museum of Art

[1] Csapo and Slater (1994, 257); hypokrisis, which literally means "acting," was the word used in discussions of rhetorical delivery.

[2] „How To Make An Acting Resume That Works For You”. Daily Actor (на језику: енглески). Приступљено 2017-11-16.

[3] Kantilaftis, Helen (2015-08-27). „How to Make An Actor Demo Reel”. Student Resources (на језику: енглески). Приступљено 2021-01-30.

[4] „What Are the Sides for Acting Auditions? (Showbiz Term of the Day)”. www.youryoungactor.com. Приступљено 2017-11-16.

[5] „Rehearsal”.

[6] Bode, D; Brutten, E (1963). „A palmar sweat investigation of the effect of audience variation upon stage fright”. Speech Monographs. 30 (2): 92—96. doi:10.1080/03637756309375363.

[emotionprocesses-7] Konijin, Elly A. (1991). „What's on between the actor and his audience? Empirical Analysis of emotion processes in the theatre”. Ур.: Wilson, Glenn D. Psychology and Performing Arts. Swets & Zeitlinger. ISBN 978-0312653163.

[8] Richard S. Lazarus; Susan Folkman (15. 3. 1984). stress, appraisial and coping. New York Springer.

[ncbi.nlm.nih.gov-9] а ^б Yoshie, M (2009). „Music performance anxiety in skilled pianists: effects of social-evaluative performance situation on subjective, autonomic, and electromyographic reactions”. Exp Brain Res. 199 (2): 117—26. PMID 19701628. S2CID 12759663. doi:10.1007/s00221-009-1979-y.

[journals.plos.org-10] а ^б Wells, Ruth (4. 10. 2012). „Matter Over Mind: A Randomised-Controlled Trial of Single-Session Biofeedback Training on Performance Anxiety and Heart Rate Variability in Musicians”. PLOS ONE. 7 (10): e46597. Bibcode:2012PLoSO...746597W. PMC 3464298 . PMID 23056361. doi:10.1371/journal.pone.0046597 .

[11] McKinney, Mark (1983). „The Effects of Audience Size on High and Low Speech-Anxious Subjects During an Actual Speaking Taks”. Basic and Applied Social Psychology. 4 (1): 73—87. doi:10.1207/s15324834basp0401_6.

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@@ Ред 1: / Ред 1: @@
+{{Short description|Причање приче извођењем лика}}
-[[Датотека:Bernhardt Hamlet2.jpg|250п|мини|[[Сара Бернар]] као [[Хамлет]]]]'''Глума''' је психички процес деловања појединца на сопствене [[карактер]]не особине да би искрено одговорио на задате имагинарне околности. Глумци или глумице су особе запослене у [[позориште|позоришту]], [[телевизија|телевизији]], [[филм]]у или било којем другом приповедачком медију, који казују причу кроз лик и кроз изговарање или певање писаног текста. Глума се може ослањати и на говор тела, па текст и вербална комуникација нису увек нужни.
+[[Датотека:Bernhardt Hamlet2.jpg|250п|мини|[[Сара Бернар]] као [[Хамлет]]]]
+'''Глума''' је психички процес деловања појединца на сопствене [[карактер]]не особине да би искрено одговорио на задате имагинарне околности. Глумци или глумице су особе запослене у [[позориште|позоришту]], [[телевизија|телевизији]], [[филм]]у или било којем другом приповедачком медију, који казују причу кроз лик и кроз изговарање или певање писаног текста. Глума се може ослањати и на говор тела, па текст и вербална комуникација нису увек нужни.
 Глума је и назив који користимо за скуп глумачких вештина помоћу којих [[глумац]] обликује [[измишљени лик|лик]] у неком сценском делу.
+{{rut}}
+Most [[History of theatre|early sources]] in the [[Western culture|West]] that examine the [[art]] of acting ({{lang-grc-gre|ὑπόκρισις}}, ''hypokrisis'') discuss it as part of [[rhetoric]].<ref>Csapo and Slater (1994, 257); ''hypokrisis'', which literally means "acting," was the word used in discussions of [[rhetoric]]al delivery.</ref>
 == Систем глуме ==
 Суштина глуме је потиснути себе да би могли постати неко други. Свест о томе да убеђења граде карактер, као и сећање на време када нису имали изграђен карактер глумцима помаже да схвате да се најпре морају психички вратити у своје [[детињство]] и почети да размишљају као деца. По способности да се врати у такво стање мери се [[квалитет]] глумца, неки од највећих глумаца који су глумили крајње тешке драмске улоге у ствари су омиљени дечји глумци. Из тог стања глумац полако почиње прихватати карактер лика који треба тумачити. Предрасуде и убеђења лика некада су видљива из самога текста где лик истиче своје идеале, док се у другим случајевима карактер поприма уживљавањем у сваку мисао исказану у тексту, мозаик мисли се склапа и добија се карактер. Једна од највећих грешака у размишљању глумца почетника јесте да је глума, нарочито позоришна посвећена [[публика|публици]]. Публика је у ствари извор енергије коју глумац прихвата док је на [[сцена|сцени]], каналише је током интеракције на подијуму и враћа публици. Најбољи начин да публика схвати поруку сцене јесте да преузме вибрације које су прошле кроз интеракцију ликова. Глума се у ствари игра за [[Интеракција|интеракцију]]. Интеракција глуме зрачи у свим правцима и помаже да свако осети оно што је осећао писац током писања дела.
+== Resumes and auditions ==
+Actors and actresses need to make a [[resume]] when applying for roles. The acting resume is very different from a normal resume; it is generally shorter, with lists instead of paragraphs, and it should have a [[head shot]] on the back.<ref>{{Cite news|url=http://www.dailyactor.com/acting-resume/|title=How To Make An Acting Resume That Works For You|work=Daily Actor|access-date=2017-11-16|language=en-US}}</ref> Sometimes, a resume also contains a short 30 second to 1 minute reel displaying the actors ability's, so that the [[casting director]] can see your previous performances, if any. An actors resume should list projects they have acted in before such as plays, movies, or shows, as well as special skills and their contact information.<ref>{{Cite web|last=Kantilaftis|first=Helen|date=2015-08-27|title=How to Make An Actor Demo Reel|url=https://www.nyfa.edu/student-resources/how-to-make-an-actor-demo-reel/|access-date=2021-01-30|website=Student Resources|language=en-US}}</ref>
+Auditioning is the act of performing either a monologue or sides (lines for one character)<ref>{{Cite web|url=http://www.youryoungactor.com/2009/12/04/what-are-the-sides-for-acting-auditions-acting-term-of-the-day/|title=What Are the Sides for Acting Auditions? (Showbiz Term of the Day)|website=www.youryoungactor.com|access-date=2017-11-16}}</ref> as sent by the [[casting director]]. Auditioning entails showing the actor's skills to present themselves as a different person; it may be as brief as two minutes. For theater auditions it can be longer than two minutes, or they may perform more than one monologue, as each casting director can have different requirements for actors. Actors should go to auditions dressed for the part, to make it easier for the casting director to visualize them as the character. For television or film they will have to undergo more than one audition. Oftentimes actors are called into another audition at the last minute, and are sent the sides either that morning or the night before. Auditioning can be a stressful part of acting, especially if one has not been trained to audition.
+== Rehearsal ==
+[[Rehearsal]] is a process in which actors prepare and practice a performance, exploring the vicissitudes of [[Conflict (narrative)|conflict]] between [[Character (arts)|character]]s, testing specific actions in the scene, and finding means to convey a particular sense. Some actors continue to rehearse a scene throughout the run of a show in order to keep the scene fresh in their minds and exciting for the audience.<ref>{{Cite web|url=https://dictionary.cambridge.org/dictionary/english/rehearsal|title = Rehearsal}}</ref>
+== Audience ==
+A critical audience with evaluative spectators is known to induce stress on actors during performance,<ref>{{cite journal|last1=Bode|first1=D|last2=Brutten|first2=E|title=A palmar sweat investigation of the effect of audience variation upon stage fright|journal=Speech Monographs|date=1963|volume=30|issue=2 |pages= 92–96|doi=10.1080/03637756309375363}}</ref> (see Bode & Brutten). Being in front of an audience sharing a story will makes the actors intensely vulnerable. Shockingly, an actor will typically rate the quality of their performance higher than their spectators.<ref name = emotionprocesses>{{cite book |first1= Elly A.|last1=Konijin|chapter=What's on between the actor and his audience? Empirical Analysis of emotion processes in the theatre|title=Psychology and Performing Arts|editor-first= Glenn D.|editor-last = Wilson |chapter-url = https://books.google.com/books?id=3shEzj0wccgC&pg=PA59 |isbn = 978-0312653163|publisher = Swets & Zeitlinger|date = 1991}}</ref> Heart rates are generally always higher during a performance with an audience when compared to rehearsal, however what's interesting is that this audience also seems to induce a higher quality of performance. Simply put, while public performances cause extremely high stress levels in actors (more so amateur ones), the stress actually improves the performance, supporting the idea of "positive stress in challenging situations"<ref>{{cite book|author1=Richard S. Lazarus|author2=Susan Folkman|title=stress, appraisial and coping|date=15 March 1984|publisher=New York Springer}}</ref>
+== Heart rate ==
+Depending on what an actor is doing, his or her heart rate will vary. This is the body's way of responding to stress. Prior to a show one will see an increase in heart rate due to anxiety. While performing an actor has an increased sense of exposure which will increase [[performance anxiety]] and the associated physiological arousal, such as heart rate.<ref name="ncbi.nlm.nih.gov">{{cite journal|last1=Yoshie|first1=M|title=Music performance anxiety in skilled pianists: effects of social-evaluative performance situation on subjective, autonomic, and electromyographic reactions|pmid=19701628|doi=10.1007/s00221-009-1979-y|volume=199|issue=2|year=2009|journal=Exp Brain Res|pages=117–26|s2cid=12759663}}</ref> Heart rates increases more during shows compared to rehearsals because of the increased pressure, which is due to the fact that a performance has a potentially greater impact on an actors career.<ref name="ncbi.nlm.nih.gov"/> After the show a decrease in the heart rate due to the conclusion of the stress inducing activity can be seen. Often the heart rate will return to normal after the show or performance is done;<ref name="journals.plos.org">{{cite journal|last1=Wells|first1=Ruth|title=Matter Over Mind: A Randomised-Controlled Trial of Single-Session Biofeedback Training on Performance Anxiety and Heart Rate Variability in Musicians|journal=PLOS ONE|date=4 October 2012|pages=e46597|pmc=3464298|doi=10.1371/journal.pone.0046597|pmid=23056361|volume=7|issue=10|bibcode=2012PLoSO...746597W|doi-access=free}}</ref> however, during the applause after the performance there is a rapid spike in heart rate.<ref>{{cite journal|last1=McKinney|first1=Mark|title=The Effects of Audience Size on High and Low Speech-Anxious Subjects During an Actual Speaking Taks|journal=Basic and Applied Social Psychology|date=1983|volume=4|issue=1|pages=73–87|doi=10.1207/s15324834basp0401_6}}</ref> This can be seen not only in actors but also with [[public speaking]] and [[musicians]].<ref name="journals.plos.org"/>
 == Види још ==
 * [[Константин Станиславски]]
+== Референце ==
+{{Reflist}}
+== Литература ==
+{{Refbegin|30em}}
+* [[Richard Boleslavsky|Boleslavsky, Richard]]. 1933 ''Acting: the First Six Lessons''. New York: Theatre Arts, 1987. {{ISBN|0-878-30000-7}}.
+* Benedetti, Jean. 1999. ''Stanislavski: His Life and Art''. Revised edition. Original edition published in 1988. London: Methuen. {{ISBN|0-413-52520-1}}.
+* Brustein, Robert. 2005. ''Letters to a Young Actor'' New York: Basic Books. {{ISBN|0-465-00806-2}}.
+* Csapo, Eric, and William J. Slater. 1994. ''The Context of Ancient Drama.'' Ann Arbor: University of Michigan Press. {{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}}.
+* [[Uta Hagen|Hagen, Uta]] and Haskel Frankel. 1973. ''Respect for Acting.'' New York: Macmillan. {{ISBN|0-025-47390-5}}.
+* Halliwell, Stephen, ed. and trans. 1995. ''Aristotle ''Poetics. Loeb Classical Library ser. Aristotle vol. 23. Cambridge, MA: Harvard University Press. {{ISBN|978-0-674-99563-5}}.
+* Hodge, Alison, ed. 2000. ''Twentieth Century Actor Training''. London and New York: Routledge. {{ISBN|0-415-19452-0}}.
+* [[David Magarshack|Magarshack, David]]. 1950. ''Stanislavsky: A Life.'' London and Boston: Faber, 1986. {{ISBN|0-571-13791-1}}.
+* [[Sanford Meisner|Meisner, Sanford]], and Dennis Longwell. 1987. ''Sanford Meisner on Acting.'' New York: Vintage. {{ISBN|978-0-394-75059-0}}.
+* [[Patrice Pavis|Pavis, Patrice]]. 1998. ''Dictionary of the Theatre: Terms, Concepts, and Analysis''. Trans. Christine Shantz. Toronto and Buffalo: University of Toronto Press. {{ISBN|0802081630}}.
+* [[Konstantin Stanislavski|Stanislavski, Konstantin]]. 1938. ''An Actor's Work: A Student's Diary''. Trans. and ed. Jean Benedetti. London and New York: Routledge, 2008. {{ISBN|0-415-42223-X}}.
+* [[Konstantin Stanislavski|Stanislavski, Konstantin]]. 1957. ''An Actor's Work on a Role''. Trans. and ed. Jean Benedetti. London and New York: Routledge, 2010. {{ISBN|0-415-46129-4}}.
+* [[Glynne Wickham|Wickham, Glynne]]. 1959. ''Early English Stages: 1300—1660.'' Vol. 1. London: Routledge.
+* [[Glynne Wickham|Wickham, Glynne]]. 1969. ''Shakespeare's Dramatic Heritage: Collected Studies in Mediaeval, Tudor and Shakespearean Drama.'' London: Routledge. {{ISBN|0-710-06069-6}}.
+* [[Glynne Wickham|Wickham, Glynne]]. 1981. ''Early English Stages: 1300—1660.'' Vol. 3. London: Routledge. {{ISBN|0-710-00218-1}}.
+* Zarrilli, Phillip B., ed. 2002. ''Acting (Re)Considered: A Theoretical and Practical Guide''. Worlds of Performance Ser. 2nd edition. London and New York: Routledge. {{ISBN|0-415-26300-X}}.
+* Adejeji, Joel. 1969. "Traditional Yoruba Theatre." ''African Arts'' 3.1 (Spring): 60–63. {{JSTOR|3334461}}
+* Banham, Martin, ed. 1995. ''The Cambridge Guide to Theatre.'' Rev. ed. Cambridge: Cambridge UP. {{ISBN|978-0-521-43437-9}}.
+* Banham, Martin, Errol Hill, and George Woodyard, eds. 2005. ''The Cambridge Guide to African and Caribbean Theatre.'' Cambridge: Cambridge UP. {{ISBN|978-0-521-61207-4}}.
+* Baumer, Rachel Van M., and James R. Brandon, eds. 1981. ''Sanskrit Theatre in Performance.'' Delhi: Motilal Banarsidass, 1993. {{ISBN|978-81-208-0772-3}}.
+* Beacham, Richard C. 1996. ''The Roman Theatre and Its Audience.'' Cambridge, MA: Harvard UP. {{ISBN|978-0-674-77914-3}}.
+* ––. 2005. ''The Art of the Actor: The Essential History of Acting, From Classical Times to the Present Day.'' London: Methuen. {{ISBN|0-413-77336-1}}.
+* Brandon, James R. 1981. Introduction. In Baumer and Brandon (1981, xvii–xx).
+* ––, ed. 1997. ''The Cambridge Guide to Asian Theatre.'' 2nd, rev. ed. Cambridge: Cambridge UP. {{ISBN|978-0-521-58822-5}}.
+* Brinton, Crane, John B Christopher, and Robert Lee Wolff. 1981. ''Civilization in the West: Part 1 Prehistory to 1715.'' 4th ed. Englewood Cliffs, NJ: Prentice-Hall. {{ISBN|978-0-13-134924-7}}.
+* Brockett, Oscar G. and Franklin J. Hildy. 2003. ''History of the Theatre''. Ninth edition, International edition. Boston: Allyn and Bacon. {{ISBN|0-205-41050-2}}.
+* Brown, Andrew. 1995. "Ancient Greece." In Banham (1995, 441–447).
+* Cartledge, Paul. 1997. "'Deep Plays': Theatre as Process in Greek Civic Life." In Easterling (1997, 3–35).
+* Cohen, Robert, and Donovan Sherman. 2020. "Chapter 7: Theatre Traditions." ''[https://www.worldcat.org/oclc/1073038874 Theatre: Brief Edition]''. Twelfth ed. New York, NY. {{isbn|978-1-260-05738-6}}. {{oclc|1073038874}}.
+* Counsell, Colin. 1996. ''Signs of Performance: An Introduction to Twentieth-Century Theatre.'' London and New York: Routledge. {{ISBN|978-0-415-10643-6}}.
+* Davidson, John. 2005. "Theatrical Production." In Gregory (2005, 194–211).
+* Duffy, Eamon. 1992. ''The Stripping of the Altars: Traditional Religion in England, 1400–1580.'' New Haven: Yale UP. {{ISBN|978-0-300-06076-8}}.
+* Easterling, P. E., ed. 1997. ''The Cambridge Companion to Greek Tragedy''. Cambridge Companions to Literature ser. Cambridge: Cambridge UP. {{ISBN|0-521-42351-1}}.
+* Falossi, F. and Mastropasqua, F. "L'Incanto Della Maschera." Vol. 1 Prinp Editore, Torino:2014 www.prinp.com {{ISBN|978-88-97677-50-5}}
+* Finley, Moses I. 1991. ''The Ancient Greeks: An Introduction to their Life and Thought.'' London: Penguin. {{ISBN|978-0-14-013707-1}}.
+* Goldhill, Simon. 1997. "The Audience of Athenian Tragedy." In Easterling (1997, 54–68).
+* ––. 1999. "Programme Notes." In Goldhill and Osborne (2004, 1–29).
+* ––. 2008. "Generalizing About Tragedy." In Felski (2008b, 45–65).
+* Goldhill, Simon, and Robin Osborne, eds. 2004. ''Performance Culture and Athenian Democracy.'' New edition. Cambridge: Cambridge UP. {{ISBN|978-0-521-60431-4}}.
+* Gregory, Justina, ed. 2005. ''A Companion to Greek Tragedy.'' Blackwell Companions to the Ancient World ser. Malden, MA and Oxford: Blackwell. {{ISBN|1-4051-7549-4}}.
+* Grimsted, David. 1968. ''Melodrama Unveiled: American Theatre and Culture, 1800–50.'' Chicago: U of Chicago P. {{ISBN|978-0-226-30901-9}}.
+* [[Andrew Gurr|Gurr, Andrew]]. 1992. ''The Shakespearean Stage 1574–1642''. Third ed. Cambridge: Cambridge University Press. {{ISBN|0-521-42240-X}}.
+* Hume, Robert D. 1976. ''The Development of English Drama in the Late Seventeenth Century''. Oxford: Clarendon Press. {{ISBN|978-0-19-811799-5}}.
+* Janko, Richard, trans. 1987. ''Poetics with Tractatus Coislinianus, Reconstruction of Poetics II and the Fragments of the On Poets.'' By [[Aristotle]]. Cambridge: Hackett. {{ISBN|0-87220-033-7}}.
+* Kovacs, David. 2005. "Text and Transmission." In Gregory (2005, 379–393).
+* Ley, Graham. 2006. ''A Short Introduction to the Ancient Greek Theater.'' Rev. ed. Chicago and London: U of Chicago P. {{ISBN|978-0-226-47761-9}}.
+* –. 2007. ''The Theatricality of Greek Tragedy: Playing Space and Chorus.'' Chicago and London: U of Chicago P. {{ISBN|978-0-226-47757-2}}.
+* McCullough, Christopher, ed. 1998. ''Theatre Praxis: Teaching Drama Through Practice.'' New Directions in Theatre Ser. London: Macmillan. {{ISBN|978-0-333-64996-1}}. New York: St Martin's P. {{ISBN|978-0-312-21611-5}}.
+* ––. 1996. ''Theatre and Europe (1957–1996).'' Intellect European Studies ser. Exeter: Intellect. {{ISBN|978-1-871516-82-1}}.
+* McDonald, Marianne. 2003. ''The Living Art of Greek Tragedy.'' Bloomington: Indiana UP. {{ISBN|978-0-253-21597-0}}.
+* McKay, John P., Bennett D. Hill, and John Buckler. 1996. ''A History of World Societies.'' 4th ed. Boston: Houghton Mifflin. {{ISBN|978-0-395-75377-4}}.
+* Milhous, Judith 1979. ''Thomas Betterton and the Management of Lincoln's Inn Fields 1695–1708''. Carbondale, Illinois: Southern Illinois UP. {{ISBN|978-0-8093-0906-1}}.
+* Milling, Jane, and Graham Ley. 2001. ''Modern Theories of Performance: From Stanislavski to Boal.'' Basingstoke, Hampshire and New York: Palgrave. {{ISBN|978-0-333-77542-4}}.
+* Moreh, Shmuel. 1986. "Live Theater in Medieval Islam." In ''Studies in Islamic History and Civilization in Honour of Professor David Ayalon.'' Ed. [[Moshe Sharon]]. Cana, Leiden: Brill. 565–601. {{ISBN|978-965-264-014-7}}.
+* Munby, Julian, Richard Barber, and Richard Brown. 2007. ''Edward III's Round Table at Windsor: The House of the Round Table and the Windsor Festival of 1344.'' Arthurian Studies ser. Woodbridge: Boydell P. {{ISBN|978-1-84383-391-8}}.
+* Noret, Joël. 2008. "Between Authenticity and Nostalgia: The Making of a Yoruba Tradition in Southern Benin." ''African Arts'' 41.4 (Winter): 26–31.
+* Pavis, Patrice. 1998. ''Dictionary of the Theatre: Terms, Concepts, and Analysis.'' Trans. Christine Shantz. Toronto and Buffalo: U of Toronto P. {{ISBN|978-0-8020-8163-6}}.
+* Pelling, Christopher. 2005. "Tragedy, Rhetoric, and Performance Culture." In Gregory (2005, 83–102).
+* [[Rush Rehm|Rehm, Rush]]. 1992. ''Greek Tragic Theatre.'' Theatre Production Studies ser. London and New York: Routledge. {{ISBN|0-415-11894-8}}.
+* Richmond, Farley. 1995. "India." In Banham (1995, 516–525).
+* Richmond, Farley P., Darius L. Swann, and Phillip B. Zarrilli, eds. 1993. ''Indian Theatre: Traditions of Performance.'' U of Hawaii P. {{ISBN|978-0-8248-1322-2}}.
+* [[Wole Soyinka|Soyinka, Wole]]. 1973. "The Fourth Stage: Through the Mysteries of Ogun to the Origin of Yoruba Tragedy." In ''The Morality of Art: Essays Presented to G. Wilson Knight by his Colleagues and Friends.'' Ed. Douglas William Jefferson. London: Routledge and Kegan Paul. 119–134. {{ISBN|978-0-7100-6280-2}}.
+* Styan, J. L. 2000. ''Drama: A Guide to the Study of Plays.'' New York: Peter Lang. {{ISBN|978-0-8204-4489-5}}.
+* [[Oliver Taplin|Taplin, Oliver]]. 2003. ''Greek Tragedy in Action.'' Second edition. London and New York: Routledge. {{ISBN|978-0-7486-1987-0}}.
+* Taxidou, Olga. 2004. ''Tragedy, Modernity and Mourning''. Edinburgh: Edinburgh UP. {{ISBN|0-7486-1987-9}}.
+* Thornbrough, Emma Lou. 1996. ''The Ancient Greeks.'' Acton, MA: Copley. {{ISBN|978-0-87411-860-5}}.
+* Tsitsiridis, Stavros, "Greek Mime in the Roman Empire (P.Oxy. 413: ''Charition'' and ''Moicheutria''", [https://web.archive.org/web/20140413213858/http://www.logeion.upatras.gr/index.php/component/content/article?id=83 ''Logeion'' 1 (2011) 184–232.]
+* [[Jean-Pierre Vernant|Vernant, Jean-Pierre]], and [[Pierre Vidal-Naquet]]. 1988. ''Myth and Tragedy in Ancient Greece.'' Trans. Janet Lloyd. New York: Zone Books, 1990.
+* Walton, J. Michael. 1997. Introduction. In ''Plays VI.'' By Euripides. Methuen Classical Greek Dramatists ser. London: Methuen. vii–xxii. {{ISBN|0-413-71650-3}}.
+* [[Raymond Williams|Williams, Raymond]]. 1966. ''Modern Tragedy''. London: Chatto & Windus. {{ISBN|0-7011-1260-3}}.
+* Zarrilli, Phillip B. 1984. ''The Kathakali Complex: Actor, Performance and Structure.'' [S.l.]: South Asia Books. {{ISBN|978-0-391-03029-9}}.
+{{Refend}}
 == Спољашње везе ==
 {{Commonscat|Acting}}
+* [https://exchange.umma.umich.edu/resources/23744 Collection: "History of Acting: Gestural Acting and Realism"] from the [[University of Michigan Museum of Art]]
-{{клица-глум}}
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Државне	Француска BnF подаци Немачка Израел Сједињене Државе Јапан Чешка
Остале	Енциклопедија Британика 2