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"Actress" redirects here. For other uses, see Actor (disambiguation).
Actors from the Comédie-Française c. 1720.

An actor (or actress for female) is one who portrays a character in a performance. The actor performs "in the flesh" in the traditional medium of the theatre, and/or in modern mediums such as film, radio, and television. The analogous Greek term is ὑποκριτής (hupokritḗs), literally "one who answers".[1] The actor's interpretation of their role pertains to the role played, whether based on a real person or fictional character. Interpretation occurs even when the actor is "playing themselves", as in some forms of experimental performance art, or, more commonly; to act, is to create, a character in performance.[2]

Formerly, in some societies, only men could become actors, and women's roles were generally played by men or boys.[3] In modern times, women occasionally played the roles of prepubescent boys.[citation needed]


After 1660 in England, when women first started to appear on stage, the terms actor or actress were initially used interchangeably for female performers, but later, influenced by the French actrice, actress became the commonly used term for women in theatre and film. The etymology is a simple derivation from actor with ess added.[4] However, when referring to more than one performer, of both sexes, actor is preferred as a gender-specific term for male performers. Actor is also used before the full name of a performer as a gender-specific term. Within the profession, the re-adoption of the neutral term dates to the 1950–1960s, the post-war period when the contributions of women to cultural life in general were being reviewed.[5] "When the Observer and the Guardian published their new joint style guide in 2010, it stated "Use ["actor"] for both male and female actors; do not use actress except when in name of award, e.g. Oscar for best actress." [6] The authors of the style guide stated that "actress comes into the same category as authoress, comedienne, manageress, 'lady doctor', 'male nurse' and similar obsolete terms that date from a time when professions were largely the preserve of one sex (usually men). As Whoopi Goldberg put it in an interview with the paper: 'An actress can only play a woman. I'm an actor – I can play anything.'"[6] The U.K. performers' union Equity has no policy on the use of "actor" or "actress". An Equity spokesperson said that the union does not believe that there is a consensus on the matter and stated that the "...subject divides the profession." [6] In 2009, the Los Angeles Times stated that "Actress" remains the common term used in major acting awards given to female recipients[7] (e.g., Academy Award for Best Actress).

With regards to the cinema of the United States, the gender-neutral term "player" was common in film in the silent film era and the early days of the Motion Picture Production Code, but in the 2000s in a film context, it is generally deemed archaic. However, "player" remains in use in the theatre, often incorporated into the name of a theatre group or company, such as the American Players, the East West Players and so on. Also, actors in improvisational theatre may be referred to as "players".[8]


The first recorded case of a performing actor occurred in 534 BC (though the changes in calendar over the years make it hard to determine exactly) when the Greek performer Thespis stepped on to the stage at the Theatre Dionysus to become the first known person to speak words as a character in a play or story. Prior to Thespis' act, Grecian stories were only expressed in song, dance, and in third person narrative. In honor of Thespis, actors are commonly called Thespians. Actors in the theatre of ancient Greece acted in three types of drama: tragedy, comedy, and the satyr play.[9] Western theatre developed and expanded considerably under the Romans. The theatre of ancient Rome was a thriving and diverse art form, ranging from festival performances of street theatre, nude dancing, and acrobatics, to the staging of situation comedies, to high-style, verbally elaborate tragedies.

As the Western Roman Empire fell into decay through the 4th and 5th centuries, the seat of Roman power shifted to Constantinople and the Byzantine Empire. Records show that mime, pantomime, scenes or recitations from tragedies and comedies, dances, and other entertainments were very popular. From the 5th century, Western Europe was plunged into a period of general disorder. Small nomadic bands of actors traveled around Europe throughout the period, performing wherever they could find an audience, there is no evidence that they produced anything but crude scenes.[10] Traditionally, actors were not of high status; therefore, in the Early Middle Ages traveling acting troupes were often viewed with distrust. Early Middle Ages actors were denounced by the Church during the Dark Ages as they were viewed as dangerous, immoral and pagan. In many parts of Europe, traditional beliefs of the region and time period meant actors could not receive a Christian burial, which left an actor forever condemned.

In the Early Middle Ages, churches in Europe began staging dramatized versions of biblical events. By the middle of the 11th century, liturgical drama had spread from Russia to Scandinavia to Italy. The Feast of Fools encouraged the development of comedy. In the Late Middle Ages, plays were produced in some 127 different towns. These vernacular Mystery plays often contained comedy, with actors playing devils, villains and clowns.[11] The majority of actors in these plays were drawn from the local population. Amateur performers in England were exclusively male, but other countries had female performers.

There were a number of secular performances staged in the Middle Ages, the earliest of which is The Play of the Greenwood by Adam de la Halle in 1276. It contains satirical scenes and folk material such as faeries and other supernatural occurrences. Farces also rose dramatically in popularity after the 13th century. At the end of the Late Middle Ages, professional actors began to appear in England and Europe. Richard III and Henry VII both maintained small companies of professional actors. Beginning in the mid-16th century, Commedia dell'arte troupes performed lively improvisational playlets across Europe for centuries. Commedia dell'arte was an actor-centred theatre, requiring little scenery and very few props. Plays were loose frameworks that provided the situations, complications, and outcome of the action, around which the actors would improvise. The plays utilised stock characters. A troupe typically consisted of 13 to 14 members. Most actors were paid by taking a share of the play's profits roughly equivalent to the size of their role.

A 1596 sketch of a performance in progress on the thrust stage of The Swan, a typical Elizabethan open-roof playhouse.

Renaissance theatre derived from several medieval theatre traditions, such as the mystery plays, "morality plays" and the "university drama" that attempted to recreate Athenian tragedy. The Italian tradition of Commedia dell'arte, as well as the elaborate masques frequently presented at court, also contributed to the shaping of public theatre. Since before the reign of Elizabeth I, companies of players were attached to households of leading aristocrats and performed seasonally in various locations. These became the foundation for the professional players that performed on the Elizabethan stage.

The development of the theatre and opportunities for acting ceased when Puritan opposition to the stage banned the performance of all plays within London. Puritans viewed the theatre as immoral. The re-opening of the theatres in 1660 signaled a renaissance of English drama. English comedies written and performed in the Restoration period from 1660 to 1710 are collectively called "Restoration comedy". Restoration comedy is notorious for its sexual explicitness. At this point, women were allowed the play the parts of women and not men. This period saw the introduction of the first professional actresses, and by the rise of the first celebrity actors.

19th century[edit]

Henry Irving in The Bells, 1874.

In the 19th century, the negative reputation of actors was largely reversed, and acting became an honored, popular profession and art.[12] The rise of the actor as celebrity provided the transition, as audiences flocked to their favorite "stars." A new role emerged for the actor-managers who form their own company and controlled the actors, the production, and the financing.[13] When successful, they built up a permanent clientele that flocked to their productions. They could enlarge their audience by going on tour across the country, performing a repertoire of well-known plays, such as Shakespeare. The newspapers, private clubs, pubs and coffee shops rang with lively debates evaluating the relative merits of the stars and the productions. Henry Irving (1838-1905) was the most successful of the British actor-managers.[14] Irving was renowned for his Shakespearean roles, and for such innovations as turning out the house lights so that attention could focus more on the stage and less on the audience. His company toured across Britain, as well as Europe and the United States, demonstrating the power of star actors and celebrated roles to attract enthusiastic audiences. His knighthood in 1895 indicated full acceptance into the higher circles of British society.[15]

20th century[edit]

The Shubert Theatre00.jpg

By the early 20th century, the economics of large-scale productions Displaced the Actor-manager model. It was too hard to find people combined a genius at acting, as well as management so specialization divided the roles but the emergence of stage managers and later by theatre directors. Financially, much larger capital was required to operate out of a major city. The solution was corporate ownership of chains of theatres, such as by the Theatrical Syndicate, Edward Laurillard and especially The Shubert Organization. By catering to tourists, theaters in large cities increasingly favored long runs of highly popular plays, especially musicals. Big name stars became even more essential.[16]


  • Classical acting is an umbrella term for a philosophy of acting that integrates the expression of the body, voice, imagination, personalizing, improvisation, external stimuli, and script analysis. It is based on the theories and systems of select classical actors and directors including Konstantin Stanislavski and Michel Saint-Denis.
  • In Stanislavski's system, also known as Stanislavski's method, actors draw upon their own feelings and experiences to convey the "truth" of the character they are portraying. The actor puts himself or herself in the mindset of the character finding things in common in order to give a more genuine portrayal of the character.
  • Method acting is a range of techniques based on for training actors to achieve better characterizations of the characters they play, as formulated by Lee Strasberg. Strasberg's method is based upon the idea that in order to develop an emotional and cognitive understanding of their roles, actors should use their own experiences to identify personally with their characters. It is based on aspects of Stanislavski's system. Other acting techniques are also based off Stanislavski's ideas, such as those of Stella Adler and Sanford Meisner, but these are not considered "method acting".[17]
  • Meisner technique requires the actor to focus totally on the other actor as though he or she is real and they only exist in that moment. This is a method that makes the actors in the scene seem more authentic to the audience. It is based on the principle that acting finds its expression in people's response to other people and circumstances. Is it based on Stanislavski's system.

As opposite sex[edit]

Actress Margaret Hughes c. 1670

Formerly, in some societies, only men could become actors. In ancient Greece and ancient Rome[18] and the medieval world, it was considered disgraceful for a woman to go on stage; this belief persisted until the 17th century in Venice. In the time of William Shakespeare, women's roles were generally played by men or boys.[3]

When an eighteen-year Puritan prohibition of drama was lifted after the English Restoration of 1660, women began to appear on stage in England. Margaret Hughes is oft credited as the first professional actress on the English stage.[19] This prohibition ended during the reign of Charles II in part because he enjoyed watching actresses on stage.[20] The first occurrence of the term actress was in 1700 according to the OED and is ascribed to Dryden.[7] In the 19th century many viewed women in acting negatively, as actresses were often courtesans and associated with promiscuity. Despite these prejudices, the 19th century also saw the first female acting "stars", most notably Sarah Bernhardt.[21]

In Japan, onnagata, men taking on female roles, were used in kabuki theatre when women were banned from performing on stage during the Edo period. This convention continues. By contrast, some forms of Chinese drama involve women playing all roles.

In modern times, women occasionally played the roles of prepubescent boys. For example, the stage role of Peter Pan is traditionally played by a woman, as are most principal boys in British pantomime. Opera has several "breeches roles" traditionally sung by women, usually mezzo-sopranos. Examples are Hansel in Hänsel und Gretel, Cherubino in The Marriage of Figaro and Octavian in Der Rosenkavalier.

Women playing male roles are uncommon in film, with notable exceptions. In 1982, Stina Ekblad played the mysterious Ismael Retzinsky in Fanny and Alexander, and Linda Hunt received the Academy Award for Best Supporting Actress for playing Billy Kwan in The Year of Living Dangerously. In 2007, Cate Blanchett was nominated for the Academy Award for Best Supporting Actress for playing Jude Quinn, a fictionalized representation of Bob Dylan in the 1960s, in I'm Not There.

In the 2000s, women playing men in live theatre is particularly common in presentations of older plays, such as Shakespearean works with large numbers of male characters in roles where gender is inconsequential.[citation needed]

Having an actor dress as the opposite sex for comic effect is also a long-standing tradition in comic theatre and film. Most of Shakespeare's comedies include instances of overt cross-dressing, such as Francis Flute in A Midsummer Night's Dream. The movie A Funny Thing Happened on the Way to the Forum stars Jack Gilford dressing as a young bride. Tony Curtis and Jack Lemmon famously posed as women to escape gangsters in the Billy Wilder film Some Like It Hot. Cross-dressing for comic effect was a frequently used device in most of the thirty Carry On films. Dustin Hoffman and Robin Williams have each appeared in a hit comedy film (Tootsie and Mrs. Doubtfire, respectively) in which they played most scenes dressed as a woman.

Occasionally, the issue is further complicated, for example, by a woman playing a woman acting as a man—who then pretends to be a woman, such as Julie Andrews in Victor/Victoria, or Gwyneth Paltrow in Shakespeare in Love. In It's Pat: The Movie, filmwatchers never learn the gender of the androgynous main characters Pat and Chris (played by Julia Sweeney and Dave Foley). Similarly, in the aforementioned example of The Marriage of Figaro, there is a scene in which Cherubino (a male character portrayed by a woman) dresses up and acts as a woman; the other characters in the scene are aware of a single level of gender role obfuscation, while the audience is aware of two levels.

A few modern roles are played by a member of the opposite sex in order to emphasize the gender fluidity of the role. Edna Turnblad in Hairspray was played by Divine in the 1988 original film, Harvey Fierstein in the Broadway musical, and John Travolta in the 2007 movie musical. Felicity Huffman was nominated for an Academy Award for Best Actress for playing Bree Osbourne (a male-to-female transsexual) in 2005's Transamerica.


Actors working in theatre, film, television and radio have to learn specific skills. Techniques that work well in one type of acting may not work well in another type of acting.

In theatre[edit]

To act on stage, actors need to learn the stage directions that appear in the script, such as "Stage Left" and "Stage Right". These directions are based on the actor's point of view as he or she stands on the stage facing the audience. Actors also have to learn the meaning of the stage directions "Upstage" (away from the audience) and "Downstage" (towards the audience)[22] Theatre actors need to learn blocking, which is "...where and how an actor moves on the stage during a play". Most scripts specify some blocking. The Director will also give instructions on blocking, such as crossing the stage or picking up and using a prop.[22]

Some theater actors need to learn stage combat, which is simulated fighting on stage. Actors may have to simulate "hand-to-hand [fighting] or with sword[-fighting]". Actors are coached by fight directors, who help them to learn the choreographed sequence of fight actions. [22]

In film[edit]

Silent films[edit]

From 1894 to the late 1920s, movies were silent films. Silent film actors emphasized body language and facial expression, so that the audience could better understand what an actor was feeling and portraying on screen. Much silent film acting is apt to strike modern-day audiences as simplistic or campy. The melodramatic acting style was in some cases a habit actors transferred from their former stage experience. Vaudeville theatre was an especially popular origin for many American silent film actors.[23] The pervading presence of stage actors in film was the cause of this outburst from director Marshall Neilan in 1917: "The sooner the stage people who have come into pictures get out, the better for the pictures." In other cases, directors such as John Griffith Wray required their actors to deliver larger-than-life expressions for emphasis. As early as 1914, American viewers had begun to make known their preference for greater naturalness on screen.[24]

Pioneering film directors in Europe and the United States recognized the different limitations and freedoms of the mediums of stage and screen by the early 1910s. Silent films became less vaudevillian in the mid 1910s, as the differences between stage and screen became apparent. Due to the work of directors such as D W Griffith, cinematography became less stage-like, and the then-revolutionary close up shot allowed subtle and naturalistic acting. In America, D.W. Griffith's company Biograph Studios, would become known for its innovative direction and its acting which suited the cinema rather than the stage. Griffith realized that theatrical acting did not look good on film and required his actors and actresses to go through weeks of film acting training.[25]

Lillian Gish has been called film's "first true actress" for her work in the period, as she pioneered new film performing techniques, recognizing the crucial differences between stage and screen acting. Directors such as Albert Capellani and Maurice Tourneur began to insist on naturalism in their films. By the mid-1920s many American silent films had adopted a more naturalistic acting style, though not all actors and directors accepted naturalistic, low-key acting straight away; as late as 1927, films featuring expressionistic acting styles, such as Metropolis, were still being released. [26] Greta Garbo, who made her debut in 1926, would become known for her naturalistic acting.

According to Anton Kaes, a silent film scholar from the University of Wisconsin, American silent cinema began to see a shift in acting techniques between 1913 and 1921, influenced by techniques found in German silent film. This is mainly attributed to the influx of emigrants from the Weimar Republic, "including film directors, producers, cameramen, lighting and stage technicians, as well as actors and actresses".[27]

Sound movies:late 1920s onward[edit]

Film actors have to learn to get used to and be comfortable with a camera being in front of them.[28] Film actors need to learn to find and stay on their "mark." This is a position on the floor marked with tape. This position is where the lights and camera focus are optimized. Film actors also need to learn how to prepare well and perform well on screen tests. Screen tests are a filmed audition of part of the script.

"Unlike the theater actor, who gets to develop a character during...a two- or three-hour performance, the film actor lacks continuity, forcing him or her to come to all the scenes (often shot in reverse order in which they'll ultimately appear) with a character already fully developed."[25]

"Since film captures even the smallest gesture and magnifies it..., cinema demands a less flamboyant and stylized bodily performance from the actor than does the theater." "The performance of emotion is the most difficult aspect of film acting to master: ...the film actor must rely on subtle facial ticks, quivers, and tiny lifts of the eyebrow to create a believable character."[25] Some theatre stars "...have made the theater-to-cinema transition quite successfully (Laurence Olivier, Glenn Close, and Julie Andrews, for instance), others have not..."[25]

Role of women[edit]

In 2015, Forbes reported that "...just 21 of the 100 top-grossing films of 2014 featured a female lead or co-lead, while only 28.1% of characters in 100 top-grossing films were female...".[29] In the U.S., there is an "industry-wide [gap] in salaries of all scales. On average, white women get paid 78 cents to every dollar a white man makes, while Hispanic women earn 56 cents to a white male’s dollar, Black women 64 cents and Native American women just 59 cents to that."[29] Forbes' analysis of US acting salaries in 2013 determined that the " on Forbes’ list of top-paid actors for that year made 2½ times as much money as the top-paid actresses. That means that Hollywood’s best-compensated actresses made just 40 cents for every dollar that the best-compensated men made."[30] Winning a "Best Actor" Oscar increases the divide with male winners receiving a $3.9 million salary increase on average, while it is only a $500,000 salary increase on average for female winners.[31]

Studies have shown that "...age and gender discrimination [together] can yield an even more significant wage gap." Young women actresses tend to make more than young male actors. However, "older [male] actors make more than their female equals" in age, with "female movie stars mak[ing] the most money on average per film at age 34, while male stars earn the most at 51." [32]

In television[edit]

"On a television set, there are typically several cameras angled at the set. Actors who are new to on-screen acting can get confused about which camera to look into."[22] TV actors need to learn to use lav mics (Lavaliere microphones).[22] TV actors need to understand the concept of "frame". "The term frame refers to the area that the camera's lens is capturing."[22] Within the acting industry, there are four types of television roles one could land on a show. Each type varies in prominence, frequency of appearance, and pay. The first is known as a "series regular", which are the main actors on the show who appear are part of the permanent cast. "Recurring" roles are those which are under contract to appear in multiple episodes of a series. A "co-star" role is a small speaking role which usually only appears in one episode. A "guest star" is a larger role than a "co-star" role, and the character is often the central focus of the episode or integral to the plot.

In radio[edit]

Recording a radio play in the Netherlands (1949), Spaarnestad Photo

Radio drama is a dramatized, purely acoustic performance, broadcast on radio or published on audio media, such as tape or CD. With no visual component, radio drama depends on dialogue, music and sound effects to help the listener imagine the characters and story: "It is auditory in the physical dimension but equally powerful as a visual force in the psychological dimension."[33]

Radio drama achieved widespread popularity within a decade of its initial development in the 1920s. By the 1940s, it was a leading international popular entertainment. With the advent of television in the 1950s, however, radio drama lost some of its popularity, and in some countries has never regained large audiences. However, recordings of OTR (old-time radio) survive today in the audio archives of collectors and museums, as well as several online sites such as Internet Archive.

As of 2011, radio drama has a minimal presence on terrestrial radio in the United States. Much of American radio drama is restricted to rebroadcasts or podcasts of programs from previous decades. However, other nations still have thriving traditions of radio drama. In the United Kingdom, for example, the BBC produces and broadcasts hundreds of new radio plays each year on Radio 3, Radio 4, and Radio 4 Extra. Podcasting has also offered the means of creating new radio dramas, in addition to the distribution of vintage programs.

The terms "audio drama"[34] or "audio theatre" are sometimes used synonymously with "radio drama" with one possible distinction: audio drama or audio theatre may not necessarily be intended specifically for broadcast on radio. Audio drama, whether newly produced or OTR classics, can be found on CDs, cassette tapes, podcasts, webcasts and conventional broadcast radio.

Thanks to advances in digital recording and Internet distribution, radio drama is experiencing a revival.[35]

Actor game[edit]

See also[edit]


  1. ^ "Definition of actor". Hypokrites (related to our word for hypocrite) also means, less often, "to answer" the tragic chorus. See Weimann (1978, 2); see also Csapo and Slater, who offer translations of classical source material using the term hypocrisis (acting) (1994, 257, 265–267).
  2. ^ "The dramatic world can be extended to include the 'author', the 'audience' and even the 'theatre'; but these remain 'possible' surrogates, not the 'actual' referents as such" (Elam 1980, 110).
  3. ^ a b {{cite web|url=, lyric, drama|last=Neziroski |first=Lirim|year=2003|work=Theories of Media :: Keywords Glossary :: multimedia|publisher=University of Chicago|accessdate=2009-03-14|quote=For example, until the late 1600s, audiences were opposed to seeing women on stage, because of the belief stage performance reduced them to the status of showgirls and prostitutes. Even Shakespeare's plays were performed by boys dressed in drag.}}
  4. ^ "actress, n.". Oxford English Dictionary (3 ed.). Oxford, England: Oxford University Press. November 2010. Although actor refers to a person who acts regardless of gender, where this term "is increasingly preferred", actress remains in general use; actor is increasingly preferred for performers of both sexes as a gender-neutral term. 
  5. ^ Goodman, Lizbeth; Holledge, Julie (1998). The Routledge reader in gender and performance. New York: Routledge. pp. 8; 93. ISBN 0-415-16583-0. 
  6. ^ a b c
  7. ^ a b Linden, Sheri (18 January 2009). "From actor to actress and back again". Entertainment. Los Angeles Times. Retrieved 2009-03-14. It would be several decades before the word "actress" appeared – 1700, according to the Oxford English Dictionary, more than a century after the word "actor" was first used to denote a theatrical performer, supplanting the less professional-sounding "player." 
  8. ^ Spolin, Viola (1999). Improvisation for the Theater: A Handbook of Teaching and Directing Techniques (3rd ed.). Evanston, Ill: Northwestern Univ Press. pp. Introduction to the 3rd Edition. ISBN 0810140004. 
  9. ^ Brockett and Hildy (2003, 15–19).
  10. ^ Brockett and Hildy (2003, 75)
  11. ^ Brockett and Hildy (2003, 86)
  12. ^ Wilmeth, Don B.; Bigsby, C.W.E. (1998). The Cambridge history of American theatre. Cambridge, U.K.: Cambridge University Press. pp. 449–450. ISBN 978-0-521-65179-0. 
  13. ^ James Eli Adams, ed., Encyclopedia of the Victorian era (2004) 1:2-3.
  14. ^ George Rowell, Theatre in the Age of Irving (Rowman & Littlefield, 1981).
  15. ^ Jeffrey Richards (2007). Sir Henry Irving: A Victorian Actor and His World. A&C Black. p. 109. 
  16. ^ Foster Hirsch, The Boys from Syracuse: The Shuberts' Theatrical Empire (Cooper Square Press, 2000).
  17. ^ Guerrasio, Jason. (2014-12-19) What It Means To Be ‘Method’. Retrieved on 2016-02-10.
  18. ^ Women Actors in Ancient Rome 27 December 2002, BBC
  19. ^ Smallweed (23 July 2005). "Smallweed". The Guardian. Archived from the original on 22 April 2009. Retrieved 2009-03-14. "Whereas women's parts in plays have hitherto been acted by men in the habits of women ... we do permit and give leave for the time to come that all women's parts be acted by women," Charles II ordained in 1662. According to Brewer's Dictionary of Phrase and Fable, the first actress to exploit this new freedom was Margaret Hughes, as Desdemona in Othello on December 8, 1660. 
  20. ^ "Women as actresses" (PDF). Notes and Queries. The New York Times. 18 October 1885. Archived from the original on 27 April 2009. Retrieved 2009-03-14. There seems no doubt that actresses did not perform on the stage till the Restoration, in the earliest years of which Pepys says for the first time he saw an actress upon the stage. Charles II, must have brought the usage from the Continent, where women had long been employed instead of boys or youths in the representation of female characters. 
  21. ^ ‘Studies in hysteria’: actress and courtesan, Sarah Bernhardt and Mrs Patrick Campbell
  22. ^ a b c d e f "Industry Tips". Archived from the original on March 26, 2014. Retrieved April 4, 2014. 
  23. ^ Lewis, John (2008). American Film: A History (First ed.). New York, NY: W. W. Norton & Company. ISBN 978-0-393-97922-0. 
  24. ^ brownlow 1968, pp. 344-353.
  25. ^ a b c d "Movies and Film". 
  26. ^ Brownlow 1968, pp. 344–353.
  27. ^ Kaes, Anton (1990). "Silent Cinema". Monatshefte. 
  28. ^ "Auditions for Film: Movie Acting Tips and Techniques". 
  29. ^ a b Jennifer Lawrence Speaks Out On Making Less Than Male Co-Stars. (2015-10-13). Retrieved on 2016-02-10.
  30. ^ Woodruff, Betsy. (2015-02-23) Gender wage gap in Hollywood: It's very, very wide. Retrieved on 2016-02-10.
  31. ^ "How much do Hollywood campaigns for an Oscar cost?". Retrieved 2 May 2016. 
  32. ^ Female Movie Stars Experience Earnings Plunge After Age 34. Variety (2014-02-07). Retrieved on 2016-02-10.
  33. ^ Tim Crook: Radio drama. Theory and practice Archived July 1, 2014, at the Wayback Machine.. London; New York: Routledge, 1999, p. 8.
  34. ^ Compare the entry to Hörspiel e.g. in: – Deutsch-Englisch-Wörterbuch
  35. ^ Newman, Barry (2010-02-25). "Return With Us to the Thrilling Days Of Yesteryear — Via the Internet". Wall Street Journal. 


  • Csapo, Eric, and William J. Slater. 1994. The Context of Ancient Drama. Ann Arbor: The U of Michigan P. 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.
  • Weimann, Robert. 1978. Shakespeare and the Popular Tradition in the Theater: Studies in the Social Dimension of Dramatic Form and Function. Ed. Robert Schwartz. Baltimore and London: The Johns Hopkins University Press. ISBN 0-8018-3506-2.

Further reading[edit]

External links[edit]