Marth Munro
Biographic Data
| ID | 6053559 |
|---|---|
| NAME | Marth Munro |
| GIVEN NAMES | Marth |
| FAMILY NAME | Munro |
| SIGNATURE | MUNRO M |
| AFFILIATIONS | University of Pretoria |
| ORCID | 0000-0001-9065-8591 |
| VERIFIED | Yes |
| TOTAL WORKS | 13 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 13 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2001 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 0 |
Training strategies towards performing emotions on film
South African film budgets do not allow for extensive preparation and rehearsal periods. South African film actors prepare their portrayal of emotion as part of their performance scores in isolation and are expected to present their already crafted performances while the camera is rolling. However, the actor must be able to produce an emotion at will. They must navigate the onset and conclusion of the emotion whilst effectively portraying it to t…
The mediality of pre-recorded digital performing arts on YouTube
This article assessed the efficacy of a skills-development module in pre-recorded digital performing arts (PRDPA) that was presented as an online workshop within the South African educational paradigm. The PRDPA module embraces the democratization of online media that the internet, in specific YouTube offers. PRDPA skills may enable young performers to introduce themselves to an online audience, promote themselves as performing artists and facili…
The L1–L2 tension in performance
This article tackles the issue of working in theatrical performance across multiple languages. More specifically, it documents and theorizes explorations conducted to attempt to bridge potential interpretation and communication disjunctures that might arise as actors who have a specific first language (L1) work in performance in a second/other language to which they have semantic/literal access but might not have the nuanced, multivalent and embo…
Principles for embodied learning approaches
To be human implies to be a continuous and constant bodied being situated within an environment. The fluid interrelationship between the bodied being and the environment culminates in a multimodal bodymind. It is this bodymindedness that calls for embodied pedagogies. A significant scholarly discourse argues for, and underlines, the importance of embodied learning. Embodiment is defined in this article as ‘the deliberate and mindful simultaneous …
The importance of a green screen acting course within the South African film acting curriculum
South Africa’s film and television industry is an important economic institution and it is crucial to invest in the skill development of the individuals involved in the industry. This investment includes the skills of the South African film actor who, due to the advent of digital visual effects, has to deal with a green screen environment in order to successfully portray a character in the diegetic reality of a film. The green screen limits the a…
Locating the ‘voice-as-object’ and ‘voice-as-subject’ for the entry-level theatre voice teacher
In this article we argue that the entry-level theatre voice teacher is confronted in the theatre voice class with a ‘dichotomized voice’ in training, where the physiological and the socio-cultural interweave brain/mind/body to form a sense of a self-reflected whole, through and because of voice usage. In the theatre voice training process, the student's voice is subject to his or her embodied socio-cultural experience, which impacts on how the vo…
Exploring the potential of the process drama convention of dramatised poetry to enhance anger-management skills in adolescent girls
This article investigates the way the methodology of process drama, and specifically the convention of dramatised poetry, can enhance the anger-management skills of adolescent girls. The article presents findings from a recent study that set out to teach anger-management skills to adolescent girls using process drama conventions. The argument explores the notion of process drama propounded by the prominent applied drama scholar Cecily O'Neill (19…
Embodied knowledges
While the general contours of virtuosity are the same across media, every sacred monster is unique; every technique organizes its own monstrosity, and every community engages its virtuoso monsters on its own terms (Hamera 2007: 42)
Creativity, emotional intelligence and emotional creativity in student actors
This article frames the demands made on the actor in this specific field, but specifically attempts to argue the interface between emotions and creativity in the actor, using the notions of emotional intelligence and emotional creativity as a way of interrogating the connections
Mind the Gap
The authors explored the ways in which the changes in the South African educational dispensation impact on the work of educators within a Drama department in the Higher Education and Training band (HET) in South Africa. These changes include a focus on competencies and critical outcomes across learning areas and across the qualification bands identified by the new National Qualifications Framework
Deeper Sites through various Lines
Tertiary institutions in South Africa, in accordance with government's drive towards an equilateral pedagogical approach that fosters life-long learning, have moved towards an outcomes-based education and training framework (OBET). OBET is a learner-centred approach, primarily characterised by a focus on applications and outputs. The primary goal of OBET is to produce learners who are actively and creatively involved in their own learning process…
Towards demystifying voice-building in the new millenium
Multimodal Enhancement of Culturally Diverse, Young Adult Musicians
Musicians, seeking stress relief and vocal/instrumental enhancement, often turn to the Tomatis Method of sensori-neural integration training, based on the interdependence and interaction between hearing and listening, psychological attitude and speech and language. The paucity of impact studies on musicians, despite its acclaimed efficacy, has prompted the current multidisciplinary pilot study, involving a two group, pre-post experimental design.…
No prominent works on this page.
Towards demystifying voice-building in the new millenium
Multimodal Enhancement of Culturally Diverse, Young Adult Musicians
Musicians, seeking stress relief and vocal/instrumental enhancement, often turn to the Tomatis Method of sensori-neural integration training, based on the interdependence and interaction between hearing and listening, psychological attitude and speech and language. The paucity of impact studies on musicians, despite its acclaimed efficacy, has prompted the current multidisciplinary pilot study, involving a two group, pre-post experimental design.…
Deeper Sites through various Lines
Tertiary institutions in South Africa, in accordance with government's drive towards an equilateral pedagogical approach that fosters life-long learning, have moved towards an outcomes-based education and training framework (OBET). OBET is a learner-centred approach, primarily characterised by a focus on applications and outputs. The primary goal of OBET is to produce learners who are actively and creatively involved in their own learning process…
Mind the Gap
The authors explored the ways in which the changes in the South African educational dispensation impact on the work of educators within a Drama department in the Higher Education and Training band (HET) in South Africa. These changes include a focus on competencies and critical outcomes across learning areas and across the qualification bands identified by the new National Qualifications Framework
Creativity, emotional intelligence and emotional creativity in student actors
This article frames the demands made on the actor in this specific field, but specifically attempts to argue the interface between emotions and creativity in the actor, using the notions of emotional intelligence and emotional creativity as a way of interrogating the connections
Embodied knowledges
While the general contours of virtuosity are the same across media, every sacred monster is unique; every technique organizes its own monstrosity, and every community engages its virtuoso monsters on its own terms (Hamera 2007: 42)
Exploring the potential of the process drama convention of dramatised poetry to enhance anger-management skills in adolescent girls
This article investigates the way the methodology of process drama, and specifically the convention of dramatised poetry, can enhance the anger-management skills of adolescent girls. The article presents findings from a recent study that set out to teach anger-management skills to adolescent girls using process drama conventions. The argument explores the notion of process drama propounded by the prominent applied drama scholar Cecily O'Neill (19…
Locating the ‘voice-as-object’ and ‘voice-as-subject’ for the entry-level theatre voice teacher
In this article we argue that the entry-level theatre voice teacher is confronted in the theatre voice class with a ‘dichotomized voice’ in training, where the physiological and the socio-cultural interweave brain/mind/body to form a sense of a self-reflected whole, through and because of voice usage. In the theatre voice training process, the student's voice is subject to his or her embodied socio-cultural experience, which impacts on how the vo…
The importance of a green screen acting course within the South African film acting curriculum
South Africa’s film and television industry is an important economic institution and it is crucial to invest in the skill development of the individuals involved in the industry. This investment includes the skills of the South African film actor who, due to the advent of digital visual effects, has to deal with a green screen environment in order to successfully portray a character in the diegetic reality of a film. The green screen limits the a…
Principles for embodied learning approaches
To be human implies to be a continuous and constant bodied being situated within an environment. The fluid interrelationship between the bodied being and the environment culminates in a multimodal bodymind. It is this bodymindedness that calls for embodied pedagogies. A significant scholarly discourse argues for, and underlines, the importance of embodied learning. Embodiment is defined in this article as ‘the deliberate and mindful simultaneous …
The L1–L2 tension in performance
This article tackles the issue of working in theatrical performance across multiple languages. More specifically, it documents and theorizes explorations conducted to attempt to bridge potential interpretation and communication disjunctures that might arise as actors who have a specific first language (L1) work in performance in a second/other language to which they have semantic/literal access but might not have the nuanced, multivalent and embo…
The mediality of pre-recorded digital performing arts on YouTube
This article assessed the efficacy of a skills-development module in pre-recorded digital performing arts (PRDPA) that was presented as an online workshop within the South African educational paradigm. The PRDPA module embraces the democratization of online media that the internet, in specific YouTube offers. PRDPA skills may enable young performers to introduce themselves to an online audience, promote themselves as performing artists and facili…
Training strategies towards performing emotions on film
South African film budgets do not allow for extensive preparation and rehearsal periods. South African film actors prepare their portrayal of emotion as part of their performance scores in isolation and are expected to present their already crafted performances while the camera is rolling. However, the actor must be able to produce an emotion at will. They must navigate the onset and conclusion of the emotion whilst effectively portraying it to t…
Psychology (9 works) · Art (8 works) · Computer Science (6 works) · Sociology (6 works) · Embodied cognition (5 works) · Theatre and Performance Studies (5 works) · Visual arts (5 works) · Pedagogy (4 works) · Aesthetics (3 works) · Artificial Intelligence (3 works)