The Actor in the Storytelling School

Authors

  • Filip ODANGIU Faculty of Theatre and Television, Babeș-Bolyai University, Cluj-Napoca, Romania. filip_odangiu@yahoo.com

DOI:

https://doi.org/10.24193/subbdrama.2017.1.02

Keywords:

storytelling, actor’s training, public, reception, exercises, narrative self

Abstract

This essay was born from a formative and revealing experience of the author's incidental encounter with storytelling. Seduced by the unsuspected valences of this phenomenon, the author has integrated the “tools of the trade” in his work as an acting teacher. The article’s premise is that storytelling is an exceptional way of uniting the actor and the spectator in common action, leading to a more complex understanding of the world surrounding them.

Author Biography

Filip ODANGIU, Faculty of Theatre and Television, Babeș-Bolyai University, Cluj-Napoca, Romania. filip_odangiu@yahoo.com

FILIP ODANGIU: Born in 1976 in Timisoara, Filip Odangiu is one of the promoters of a new approach in the Propaedeutics of the actor's art, based on exploring the mechanisms of imagination and metacognitive. He made his undergraduate studies at Timisoara (painting) and Cluj (acting), where he took a doctorate in Theatre in 2013, with a thesis dedicated to the formation of the actor. He obtained his Master in Philosophy of Culture and Performing Arts at the Faculty of Theatre and Television, Babes-Bolyai University of Cluj, where, since 2003, he teaches acting and improvisation. His work, besides didactic, includes several directions: acting, theater directing, stage design, fine arts, journalism.

References

Blair, Rhonda. “Acting, Embodiment, and Text: Hedda Gabler and Possible Uses of Cognitive Science”. Theatre Topics, 20. 1 (Mar 2010), p. 11-21.

Blake, Jan. “The Fisherman: A Tale of Passion, Loss, and Hope,” YouTube video, 18:25, from a lecture at TEDx conference, Manchester, February 14, 2016, posted by “TEDx Talks”, March 29, 2016, https://www.youtube.com/watch?v=IAV6eXaS6dk.

Carrière, Jean-Claude. Cercul mincinoşilor. Cele mai frumoase poveşti filozofice din lumea întreagă [Circle of Liars. The Best Philosophical Stories Worldwide], translated from French by Brîndușa Prelipceanu and Emanoil Marcu. Bucharest: Humanitas, 2013.

Goffman, Erving. Viaţa cotidiană ca spectacol [The Presentation of Self in Everyday Life]. Bucharest: Comunicare.ro, 2007.

Haggarty, Ben. “'The Bearer-Beings': Portable Stories in Dislocated Times.” Workshop, The Oxford Research Centre for Humanities, May 14, 2016.

Johnstone, Keith. Impro for Storytellers. Theatre sports and the Art of Making Things Happen. London: Faber and Faber Limited, 1999.

Odangiu, Carmen. Jocul cu umbra, povestiri critice [The Shadow Game, Critical Stories]. Arad: Editura Fundației Ioan Slavici, 1996.

Peseschkian, Nossrat. Povești orientale ca instrumente de psihoterapie [Oriental Stories as Tools of Psychotherapy], translated by Codruța Cuc. Bucharest: Editura Trei, 2005.

Zinder, David. Body Voice Imagination: A Training for the Actor, 2nd ed. New York: Routledge, 2009.

Spolin, Viola. Improvisation for the Theater, 3rd ed. Evanston, Illinois: Northwestern University Press, 1999.

Storytelling exercises sources

http://www.teachingexpertise.com/articles/helping-students-to-become-storytellers-games-and-activities-2830

http://www.thestoryteller.ca/Pages/Activities.html

http://reviewing.co.uk/stories/starters.htm#choices

http://reviewing.co.uk/stories/starters.htm

Downloads

Published

2017-03-17

How to Cite

ODANGIU, F. (2017). The Actor in the Storytelling School . Studia Universitatis Babeș-Bolyai Dramatica, 62(1), 23–34. https://doi.org/10.24193/subbdrama.2017.1.02

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Articles

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