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This applies to the actor on a personal level and in regard to the character he is playing. The actor himself must realize particular cases in which his own tendencies toward vice may differ from the character's and must work to make sure that they do not interfere with the character's development. Conversely, the actor needs to discover what the character's particular tendencies toward vice may be and convey that character's effort to keep to the mean, or, depending on the situation, perhaps that character's failure to keep the mean...
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Conversely, the actor needs to discover what the character's particular tendencies toward vice may be and convey that character's effort to keep to the mean, or, depending on the situation, perhaps that character's failure to keep the mean.
The third guideline tells us that it is necessary to guard against pleasure, because pleasure cannot be judged impartially...
Character Development Development of the character of Lady Macbeth Character Development Of Steven Wraysford During The Course Of The Initial Three Scenes In ‘Othello’ We See The Character Of Othello Turn From “Valiant Othello” (I.3 .48) A Character Of True Principles And Values Into A Vengeful And Mistrusting ‘Monster.’ How Far is Shylock a Character for Whom We Can Feel Sympathy? How Would a Contemporary Audience's Response to Him Differ from That of an Audience in Shakespeare's Time? Kit's Character Development Looking closely at Act 5 sc 3 and Act 3 sc 3 how does Shakespeare make Coriolanus into a tragic character? Macbeth's Character Development The Development of the Character of Bilbo Baggins What typical aspects of Iago's character and of Shakespeares methods of presenting a character are found in Othello? Character Development Discuss the musical construction of at least one character from Wagner's Salome. Describe how the composer(s) use(s) musical techniques to contribute to the construction of your chosen character(s). You should also consider the cultural, historica... Aristotle's Mean Applied to Acting Technique Can a work of art have value regardless of who creates it? Can, and should, we look past the character of the artist - however immoral we consider them to be - and simply experience and esteem the work itself? A DSM-IV Diagnosis as applied to the portrayed character John Nash in the film
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