Table of Contents

Contents - 6[-]Acting Emotions - An American Context Preface by David Chambers - 9[-]1 Acting emotions: Introduction - 14[-]1.1 Introduction: Does Dustin Really Cry? What About Meryl? - 14[-]1.2 Editing Acting Emotions - 15[-]1.3 What This Book is About: Acting and Emotions - 16[-]1.4 What This Book is Not About: Limiting the Subject - 18[-]1.5 Acknowledgments - 20[-]2 The Paradox Considered - 22[-]2.1 Introduction: From Paradox to the Actor's Dilemma - 22[-]2.2 Diderot's Paradoxe - 23[-]2.3 A Short History of Paradoxe sur le Com�dien - 25[-]2.4 Problematic Terms - 30[-]2.5 The Actor's Dilemma - 31[-]2.6 Levels of Enactment and Emotions - 34[-]2.7 Summary - 35[-]3 Acting Styles - 37[-]3.1 Introduction: Different Views on Acting - 37[-]3.2 The Style of Involvement - 37[-]3.3 The Style of Detachment - 40[-]3.4 The Style of Self-Expression - 42[-]3.5 Solutions for the Dilemma - 46[-]3.6 Acting Tasks - 48[-]3.7 Emotions of the Actor-Craftsman - 52[-]3.8 Actor and Audience - 54[-]3.9 Summary - 55[-]4 Emotions and Acting - 57[-]4.1 Introduction: General Human Emotions - 57[-]4.2 Sadness is Contained in the Situation - 57[-]4.3 The Emotions of Characters - 59[-]4.4 Task-Emotions and Task Concerns - 62[-]4.5 Components in the Task Situation - 65[-]4.6 A Precarious Balance - 68[-]4.7 Impulses and Control Precedence - 71[-]4.8 Expressions of Task-Emotions - 73[-]4.9 Regulation by Design - 76[-]4.10 Summary - 78[-]5 Imagination and Impersonation - 80[-]5.1 Introduction: Character Representation - 80[-]5.2 Acting Character-Emotions - 81[-]5.3 Involving Oneself in Characters-Emotions - 85[-]5.4 Opposing Concerns, Components, and Impulses - 89[-]5.5 Spontaneous and Imagined Emotions - 94[-]5.6 Believability of Emotional Expressions - 97[-]5.7 Imitation and Physiological Reactions - 99[-]5.8 Double Consciousness During Acting - 102[-]5.9 Summary - 103[-]6 Actors in Practice - 105[-]6.1 Introduction: From Theory to Practice - 105[-]6.2 Overview of Field Studies with Actors - 105[-]6.3 The Questionnaire Mixed Feelings - 112[-]6.4 Hypotheses and General Expectations - 112[-]6.5 Research Method - 115[-]6.6 From Theory to Questionnaire - 117[-]6.7 Structure of the Questionnaire - 118[-]6.8 Summary - 122[-]7 Professional Actors, Emotions, and Performing Styles - 124[-]7.1 Introduction: Assimilating the Answers - 124[-]7.2 Characteristics of Responding Actors and Performances - 125[-]7.3 Emotions Pretended on Stage - 127[-]7.4 Emotions of Actors and Characters - 130[-]7.5 Acting Styles and Emotions - 132[-]7.6 Professional Actors and Task-Emotions - 135[-]7.7 Emotions, Impulses, and Physical Reactions - 138[-]7.8 Personal Acting Styles and Acting Styles of Top Actors - 141[-]7.9 Preparation, Public, and Believability - 143[-]7.10 Summary - 145[-]8 Actors Have Emotions and Act Emotions - 147[-]8.1 Introduction: Development of Theory on Acting Emotions - 147[-]8.2 Evaluation of the Research Method - 148[-]8.3 Actors Have Task-Emotions - 151[-]8.4 Actors Act Character-Emotions - 153[-]8.5 The Function of Task-Emotions - 155[-]8.6 Aspects of Acting Styles - 158[-]8.7 A Model of the Acting Process - 162[-]Notes - 165[-]References - 178[-]Appendix - 194[-]Glossary - 196[-]List of Illustrations - 202[-]Index - 204[-]About the Author - 210

About the Author

Elly Konijn (1959) did her doctoral research at the Department of Theatre, Film, and Television Studies at the University of Utrecht, in cooperation with the Psychology Department at the University of Amsterdam. She is currently a university teacher at the University of Utrecht.