Play Roles Affecting Actors Personal Life
RESEARCH PROSPECTUS
Writing #2
SYNOPSIS OF WRITING #2
Since the final three major writing tasks of the term are all connected, this second piece is actually the starting point for your fourth piece. (See "A Preview of Writing #4 below.) Rather than being a "paper," Writing #2 is a research "prospectus" (or "proposal") that will preview for me such issues as what your documented study (Writing #4) will be about, how you will go about it, and what other theorists have already said about the topic you are working on.
The prospectus should be at least three pages long, and it will use MLA documentation.
A PREVIEW OF WRITING #4 (Final Project)
Writing #4 will be a documented study. It needs to be of interest to an academic audience regarding the world of film. That projection/repsentation will be at least 15 slides long (not counting the works cited slide) and will use research methods appropriate to its central research question. It will also utilize a documentation system appropriate to its subject matter. After the projects are all turned in, each student will also present to the rest of the class the findings of his or her study.
There are a good many options for a discourse such as the one you will produce for Writing #4, possibilities we will explore by looking at various articles. Above all, your study will do the following:
1. Be appropriate for academic readers
2. Be unified around a research question rather than simply reporting on several different aspects of a topic
3. Be "original" in that it attempts to wrestle with a topic that has not already been rehashed again and again in print
- This “originality” will stem from the academic study of film. In other words, your topic must be about film in some form or another. We will review several ideas for topics in class together.
4. Be "research"--which may mean textual study, library sources, historical sources, survey methods, interviews, or other appropriate techniques.
COMPONENTS OF THE PROSPECUS (Writing #2)
Since this is a different sort of writing than most of you have ever written, we will spend some time talking about what a prospectus needs to be like. (For this, we will build on the sample prospectus on Canvas.)
The following will serve as the essential components of your prospectus:
1. What is the central research question in the study?
2. What is so important about the question? (I.e., why/how is it of worth to an academic audience?)
3. What have other theorists/researchers had to say about the central research question you are investigating? (This is also often known as the "Review of the Literature" section of a prospectus.) (Must include at least 5 sources.)
4. What do you plan as your methodology for the study?
5. What are your qualifications for carrying out this study?
6. What is your tentative schedule for completing this study?
AUDIENCE FOR THE PROSPECTUS
Assume for the prospectus that you are writing directly to me (your "research director"), convincing me of your capabilities to carry out the project. What this means, of course, is that I probably know very little about the area you are investigating. Therefore, you will have to be quite specific so I am clear about what you are planning to do in the study.
EVALUATION OF THE PROSPECTUS
The following will be my criteria for evaluating Writing #2:
1. Are all of the necessary elements present?
2. How convincing is it?
3. How thorough has the writer been in investigating what he/she wants to study?
4. How specific are details, especially in the review of the literature section?
5. How clear is the style?
6. How well-arranged are the sections: overall? within paragraphs?
7. How well-controlled are grammar, usage, spelling, and punctuation?
DUE DATE: Sunday, March 21st at Midnight
Play Roles Affecting Actors Personal Life
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Play Roles Affecting Actors Personal Life
Introduction
During our day-to-day life activities, we play specific roles in diverse ways. In our homes, people play roles such as being a father, mother, brother, or sister. However, unlike the home setting and environment professions such as lawyers, nurses, and business managers, or any other career also have diverse roles. For many individuals, the roles assumed in the workplace and at home become a routine that enables them to internalize certain things. On the other hand, a stage actor learns new roles repeatedly to enable him or her perform effectively. In their part in theater, stage actors employ body movements, facial expressions, imaginations, voice, and feelings to express certain issues. The stage actors professionalize the actions people undertake in their day-to-day life — observing and studying stage actors will, therefore, aid in establishing whether an actor's personal life affects how they play a role.
Review of the Literature
Playing a particular role does not imply a make-believe type of performance. Instead, taking up a specific position in a play denotes the adherence to behaviors and attitudes associated with a specific role or character (Cicali, 2009). Some actors match their roles in a play where the entertained audience observes no difference between the actor's personal life and how they play a particular role. Actors' competency levels are sensitive, as their lives are always observed even when the stage actor is not taking part in a play (Leeds, 2014). Like any other person, actors face different life experiences to relate appropriately and become admirable in a specific role. By linking to a particular life experience, an actor connects with a real experience, enabling him to perform better.
Surface and Deep Acting
Concerning Erving Goffman, professional actors carry out their acting roles with much perfection and stamina. After going through a series of training in carrying out their roles, stage actors have to differentiate between their real characters and their stage characters (Saracho, 2020). According to Goffman, however, there are instances where actors become overwhelmed with feelings in the roles they are performing. It is essential to note that such stage actors may uninhibitedly partake in specific roles, unaware of the risks associated with the side effects in their daily lives. An ideal example between surface acting and deep acting is when an actor must show enthusiasm in a situation calling for self-restraint in real life.
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