In the interests of providing facts in the face of AMPTP fiction, Screen Actors Guild has prepared the following:
AMPTP MYTH: “The mediation failed for one fundamental reason: SAG continued unrealistically to insist on a substantially better deal than all of the other major Hollywood Guilds and Unions have negotiated so far in 2008. In the end, it was clear that SAG was not serious about using the mediation process to make a deal. Instead, SAG appears to have manipulated the mediation process in an attempt to achieve precisely the result it has wanted all along: A strike by SAG members.”
SAG RESPONSE: We were deadly serious about making this mediation process work. In fact, SAG requested the mediation. Our negotiators met in earnest with the mediator on several occasions and came to the table with an open mind. We do not want a strike. We want a fair contract. To say that the newly constituted SAG National Board voted by 97% to ask for federal mediation only to call a strike is absurd.

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At one point, ABC's Grey's Anatomy was my absolute favorite show. I could not miss it. Even if I had to stay up until 2 AM to watch it, I would do it so as not to be spoiled by all the water cooler talk the next day. I read the writer's blogs on the show site. I talked about it with everyone. I watched seasons on DVD. I was a super fan.

Then they went and threw Meredith in the water, killing her long enough to go see dead people, and then brought her back to life. That was my WTF moment for the show, and it just hasn't been the same ever since.

So now they bring back Denny. For real? Did they not hear the complaints ringing loud and clear when Mer was hanging out with Denny and her mom in her temporary afterlife? We have to deal with this again? And guess what, people. It's not going away anytime soon. Jeffrey Dean Morgan, who plays Denny, is slated to appear on the show through February.

Now I love Jeffrey Dean Morgan. He's yummy. But I don't want to see him in the role of Denny ever again. I grieved it with Izzy. I let it go. I'm done. Why can't the Grey's writers do the same? And creator Shonda Rhimes swears up and down this is not some delusional fantasy due to a tumor in Izzy's brain.

OK, so it's just bad writing. I think the fact that the ratings are down 17% kind of proves that.

I'll keep watching the show because I have to see where they take it, who ends up with whom, and so forth. I've invested so much into the show I just can't give up now. For those of you sticking in there with me, Entertainment Weekly, who shares my sentiment, has some insight into what's in store for Callie, McSteamy, Lexie, and new intern Sadie. Plus, Addison Montgomery, one of my favorite characters, will be returning for February sweeps for a crossover episode with Private Practice.

Hopefully there's a light at the end of the tunnel. And by that I mean it's a light pulling Denny back into the grave for good.

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Heres an enjoyable radio commercial I just did for Miller Lite introducing their new Aluminum Pint. Beer commercials usually have really funny radio TV campaigns and its an opportunity for voiceover talent to stretch your muscles and do something a little bit more over the top. I thought this spot, called R D for research and development, was a clever concept delivering mundane facts within a humorous situation. Speed, clarity, and timing (Chuck!) were key to making this voiceover work. Also, Chuck (sorry Chuck for not getting your last name at the session) was the PERFECT Brewmaster. The funny thing is that Chuck really sounds like that in person. Some people are just given a great set of pipes and others, like me, sound like a teenager in prep school.

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Improvement is needed for environmental health, said in a report.
Environmental health in Lincoln, Marathon, Portage and Wood counties ranks in the bottom quarter of Wisconsin’s 72 counties.
The 2008 County Health Rankings, released Thursday by the University of Wisconsin’s Population Health Institute in Madison, suggest the findings.
The report looked at air quality data from the U.S.

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MotorCycle Direct is among the UK's biggest specialist motorcycle insurance providers, offering customers the chance to access quotes and information almost instantly. We have built a big business on the basis of small premiums and a personal touch. We have got the industry knowledge and technical expertise to find anyone the right motorcycle insurance quote for biking in the British Isles - whatever their interests.
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One in every five riders have already taken the plunge and put us to the test - why don't you join them? Whether you ride a scooter, a moped or a motorcycle, you can be sure that our bike insurance providers have a policy to suit you. If you are looking for cheap motorbike insurance, you've come to the right place as we've made sure we have provided a range of policies online for Comprehensive, Third Party Fire and Theft and Third Party Only bike insurance.
If you would prefer to speak to one of our specialist quotes team then please give them a call on 0844 800 0944 or alternatively get a motorcycle insurance quotation now. Motorcycle insurance quotes are available online 24 hours a day seven days a week.

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Lots going on lately. American Buffalo might close after only a week of performances this Sunday. Most are blaming the imbalanced stunt casting of John Leguizamo, Cedric the Entertainer, and Haley Joel Osment....
The NewYork Post reports that Reba McEntire may headline a Roundabout revival of Anything Goes next season. I heardRoundabout offered McEntire the role of Reno Sweeney six months ago and she turned them down and they are still planning to do the show with another star....
Tony winner John Lloyd Young (Jersey Boys) will make his film debut in a comedy called Oy Vey, My Son Is Gay. Described as a a heartfelt comedy about a close-knit familys reaction to their beloved son coming out of the closet. Sounds like it could be funny....ABOUT30 YEARS AGO!!!! Where have the people who wrote this been for the past few decades? Did they ever watch an epsiode of Will and Grace? And that title sucks!...
Richard Chamberlain will star in the tour of Monty Pythons Spamalot. BTW, Marian Seldes told me Spamalot was the first show she paid $100 to see and it was worth it.
On the Town at Encores! was a delight. Andrea Martin stole the show. Very funny bits with a microphone stand and booze bottles.She definitely needs another shownow that shes out of Young Frankenstein.Seeing White Christmas tonight.

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Jacob Benjamin "Jake" Gyllenhaal (pronounced /ˈdʒɪlənhɑːl/; born December 19, 1980) is an American actor. The son of director Stephen Gyllenhaal and screenwriter Naomi Foner, Gyllenhaal began acting at age ten. He has appeared in diverse roles since his first lead role in 1999's October Sky, followed by the 2001 indie cult hit Donnie Darko, in which he played a psychologically troubled teen and onscreen brother to his real-life sister, actress Maggie Gyllenhaal. In the 2004 blockbuster The Day After Tomorrow he portrayed a student caught in a cataclysmic global cooling event, alongside Dennis Quaid as his father. He then played against type as a frustrated Marine in Jarhead (2005). The same year, he won critical acclaim as Jack Twist in the film Brokeback Mountain.

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Actor James McAvoy is to be honoured by his former drama school, it was
announced.The Bafta-winning star will receive a Fellowship from the Royal
Scottish Academy of Music and Drama (RSAMD) in Glasgow next month. Acclaimed
British actor, producer and director Lord Attenborough will also be honoured at
the graduation ceremony on November 20. McAvoy, 29, who is best
known for his film roles in The Last King of Scotland and Atonement, as well as
the television series Shameless, recently backed a campaign opposing cuts at the
drama school. The honour is being given in recognition of his support to
the Academy.
The Scot graduated from the RSAMD in 2000. RSAMD
principal John Wallace said: "James was very active in a huge campaign involving
the academy and he has been very involved in the academy since he left."We are
absolutely delighted that he has accepted the invitation and are looking forward
to seeing him next month."
Lord Attenborough, who received two Academy
Awards in 1983 for the film Gandhi, will conduct a master class for staff and
students during his visit. He will then receive an Honorary Doctorate of
Drama."We are also delighted that Lord Attenborough will come to work with our
students and are saluting his contribution to our culture, society and economy,"
Mr Wallace added.

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Ventriloquism is the art of making an inanimate object seem to come alive. For those on a budget who wish to learn the art of Vent, learning to speak without lip movement-
place your finger over your mouth like your trying to tell someone to sush. This will tell you when and if your lips move. recite the alphabet. Wait didn't you feel your lips move on some letters, yes you did, they were "b," "f," "m," "p," "q," "v," and "w" To assist you in preventing your lips from moving when saying words with these letters in them, you will have to substitue other letters. For "b," say "d" or "geh." For "f," say "th." For "m," say "n," "nah," or "neh." For "p," say "kl." For "q," say "koo." For "v," say "th." And for "w," say "ooh". This might seem funny to you when you first begin, because it just does, but by placing the emphasis, the stress on the words on the syllables that don't contain these letters, the words will begin to sound natural.
The tone of your voice should also be changed, does it change to fit the character or do you change the voice then get the character? That is up to you. My choice is to have the voice fit the character. A convincing "vent" voice must be very different from yours. Listen to yourself speak. Tape your voice, play it back, do you have a high pitched, low pitched, do you speak loudly or softly? Fast or slow? Work on making your characters voice contrast with your own. To change your voice, you must use different functions in you body. For example, notice that when you speak and pinch your nose, your voice changes.force air through your nose, not your mouth, or forcethe sound from deeper in your throat, or the diaphragm, pretend your gonna cough, your muscles tighten, now try to talk, you'll get a deeper raspier sound, depending on the sound and personality your trying to produce.
Is your character smart and witty, speak quickly, without stuttering. Is the character
unintelligent or slow, have him or her speak in a low, slow voice. The voice you select helps to amplify your characters personality and helps bring him or her to life.
Bring your new friend to life. Decide what kind of partner you want. You must always make sure that his or her personality is different from your own, to give the illusion that you are not the same person. If you are a kind, responsible person, make your partner a mischievous jokester. Just choose something that will contrast your personality.
Try to find a dummy that will fit that character. For example, if your imagined character is a young, energetic boy, don't pick a dummy that's an old man or a young lady. Make sure to pick the right partner for your needs.
Convince yourself that your partner is completely alive. Once you've done this, it will be easier to convince an audience. Try to make sure that, from the moment you pick him or her up (take him or her out of his case, bed, etc.) and grab the controls, he or she is totally alive. Have him or her tell you stories about what he or she has been up to, where he or she goes to school, etc. Even though you are technically making this up, it will help you believe that there is life in your partner.
Animate your partner properly. There are many different control, a good average one that is excellent for beginners is one with a moving head. The saying no string attached is very important here, they are toys.. you want one where you put your hand in the back, grab a stick attached to the head, or a soft puppet made of latex where your hand operates the head and mouth. When its your characters turn to talk be sure the mouth moves on each sylable ( Joey says'silly bull'). Keep your partner animated, that means moving, but becareful here to, you don't want the character moving needlesslyit looks silly, unless you want it to seem that way. Don't forget to keep him/her moving when you speak as well, its natural that when someone speaks and someone listens, they move. This will make the audience think that he or she is really listening. If he or she is young and energetic, have his or her head move quickly and shake while he or she is speaking. If he or she is an older person or a sleepy child, have his or her head move slowly and not very much. Be sure that the head isn't moving too much while he or she speaks, or this will distract the audience from the actual speech. Try to observe real people as they speak, and have your partner mimic those movements.
Have fun, a major factor in being a good ventriloquist is having passion.Practice..Practice.. practice the art. Practice every day and eventually you will be a fantastic ventriloquist. You don't just practice by sitting and speaking with your partner alone. Play games with your partner, watch TV with him or her, bring him or her to family get-togethers and have others meet him or her. Whether you are taking up ventriloquism for fun or for a career, make sure you are having fun with it. The illusion of life doesn't come easily, you must believe in your friend to bring him/her to life.

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Jacob Benjamin "Jake" Gyllenhaal (pronounced /ˈdʒɪlənhɑːl/; born December 19, 1980) is an American actor. The son of director Stephen Gyllenhaal and screenwriter Naomi Foner, Gyllenhaal began acting at age ten. He has appeared in diverse roles since his first lead role in 1999's October Sky, followed by the 2001 indie cult hit Donnie Darko, in which he played a psychologically troubled teen and onscreen brother to his real-life sister, actress Maggie Gyllenhaal. In the 2004 blockbuster The Day After Tomorrow he portrayed a student caught in a cataclysmic global cooling event, alongside Dennis Quaid as his father. He then played against type as a frustrated Marine in Jarhead (2005). The same year, he won critical acclaim as Jack Twist in the film Brokeback Mountain.

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Variety is reporting the Screen Actors Guild recently notified its members that beginning January 1st, the union will be enforcing their ban on non-union work for new-media productions. Violators of this ban, also known as Rule One, can be fined or suspended after a trial board hearing, or even expelled from the guild.

You can read the full article at Variety.

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Variety is reporting the Screen Actors Guild recently notified its members that beginning January 1st, the union will be enforcing their ban on non-union work for new-media productions. Violators of this ban, also known as Rule One, can be fined or suspended after a trial board hearing, or even expelled from the guild.

You can read the full article at Variety.

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Sideshow note: Welles' persona and his problems in the 1950s and '60s are paid (under the alter ego of Leander Starr) an extremely witty and affectionate tribute in the 1962 novel Genius by Patrick Dennis, of Auntie Mame memory. During Welles' radio years, he often freelanced and would split his time between the Mercury Theatre, CBS, Mutual and NBC, among others. Due to this, Welles rarely rehearsed, instead reading ahead during other actors' lines, a practice used by some radio stars of the time. Many of his co-stars on The Shadow have remarked about this in various interviews. There are a number of apocryphal stories where Welles was reported to have turned to an actor during the mid-show commercial break and commented that this week's story was fascinating and he couldn't wait to "find out how it all ends." Welles admitted to preferring the cold-reading style in his on-air performances as he described the hectic nature of radio work to Peter Bogdanovich in This Is Orson Welles: "Soon I was doing so many [programs] that I didn't even rehearse. I'd come to a bad end in some tearjerker on the seventh floor of CBS and rush up to the ninth (they'd hold an elevator for me), where, just as the red light was going on, somebody'd hand me a script and whisper, 'Chinese mandarin, seventy-five years old', and off I'd go again... Not rehearsing... made it so much more interesting. When I was thrown down the well or into some fiendish snake pit, I never knew how I'd get out." Due to his busy radio schedule, he was hard pressed to find ways to get from job to job in busy New York City traffic. In an interview conducted in his later years, Welles tells how he "discovered that there was no law in New York that you had to be sick to travel in an ambulance." Therefore, he took to hiring ambulances to take him, sirens blazing, through the crowded streets to get to various buildings. He dated Billie Holiday around the time he was making Citizen Kane. According to Holiday's autobiography, Lady Sings the Blues, she saw the film nine times before it ever played in a theater. Welles voiced a trailer for The Incredible Shrinking Man in 1957. It was Welles who suggested to Peter Bogdanovich that he shoot The Last Picture Show in black and white. He was considered for the role of Vito Corleone in The Godfather (1972) and by his own account was very disappointed not to have been given it. Some accounts state that he was the first choice of Francis Ford Coppola to play Colonel Kurtz in Apocalypse Now (1979), a film based on the novel Heart of Darkness which Welles was planning to adapt before he wrote Citizen Kane. He was originally considered for the part of Darth Vader in Star Wars (1977), but George Lucas thought that Welles' voice would be too recognisable. Welles later lent his voice to the film's trailer. Welles narrated Drippy the Runaway Raindrop by Sidney, Mary and Alexandra Sheldon which continues to be a popular English educational series in Japan. He performed narration for two songs by the heavy metal band Manowar, a favorite of his niece. The narration of the song "Defender" from Fighting the World, released two years after his death, is among Welles' last performances. He died the same day as his Battle of Neretva co-star Yul Brynner. Orsonwelles, a genus of linyphiid spiders from the Hawaiian Islands, was named in Welles' honor in 2002. Many species - like Orsonwelles othello, Orsonwelles macbeth, Orsonwelles falstaffius, Orsonwelles ambersonorum- are named after well-known characters played by the late actor. A statue of Welles was recently unveiled in Split, Croatia. It was sculpted by Oja Kodar Welles companion during the final years of his life.

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There is absolutely no one who can come anywhere near Gadg. I felt, in a way, that Id never been directed before. Hes the first person that ever really directed me. By directed, I dont mean he told me what to do.
Again, its a question of bringing out something from you, but he doesnt just sit back and wait for something, the right thing, to come out of you as, for instance, Willie Wyler does.
He guides or talks or analyzes the character with you so much that you begin to see insights into both yourself and the character that you just werent aware of. I have never known anyone who had the knowledge of people that he has.
I never knew anyone in my life who is as keenly aware, as articulate in talking about it, and hes so spontaneous in his talking. It isnt a set this is what Ive learned about people sort of thing. He approaches each character, and each situation that that character might have to face, and sort of opens himself up to it completely and as he opens himself up to it, he shares with you this tremendous insight and knowledge and compassion that he has for people, and excitement.
I cant help feeling that there are an awful lot of people who tried to copy the outward signs of Gadgs approach they sort of go at each part, open it, examine it but always you feel its kind of studied. This is what Im going to say about this part, or with Gadg you dont feel that.
You always feel that he is absolutely experiencing his discovery with you, this knowledge. He really opens himself up, and forces you to open yourself, which is his great gift. It isnt this coldly sitting back and analyzing.
I think the key is, its done with that great really caring. It makes a difference. Creatively, at the moment, experiencing something with you.
You never once feel his theatrical knowledge imposed on you. You never once feel that youre doing something for some theatrical effect, and yet certainly he is the most effective theatrically. I heard nothing but praise of Kazan, but not what I saw. I used to sit and listen, as he told things to each character in the play. Each little thing that came up, hed explore it so, with such enthusiasm. He is the most creative person I have ever met, ever worked with, ever heard about.

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There is absolutely no one who can come anywhere near Gadg. I felt, in a way, that Id never been directed before. Hes the first person that ever really directed me. By directed, I dont mean he told me what to do.
Again, its a question of bringing out something from you, but he doesnt just sit back and wait for something, the right thing, to come out of you as, for instance, Willie Wyler does.
He guides or talks or analyzes the character with you so much that you begin to see insights into both yourself and the character that you just werent aware of. I have never known anyone who had the knowledge of people that he has.
I never knew anyone in my life who is as keenly aware, as articulate in talking about it, and hes so spontaneous in his talking. It isnt a set this is what Ive learned about people sort of thing. He approaches each character, and each situation that that character might have to face, and sort of opens himself up to it completely and as he opens himself up to it, he shares with you this tremendous insight and knowledge and compassion that he has for people, and excitement.
I cant help feeling that there are an awful lot of people who tried to copy the outward signs of Gadgs approach they sort of go at each part, open it, examine it but always you feel its kind of studied. This is what Im going to say about this part, or with Gadg you dont feel that.
You always feel that he is absolutely experiencing his discovery with you, this knowledge. He really opens himself up, and forces you to open yourself, which is his great gift. It isnt this coldly sitting back and analyzing.
I think the key is, its done with that great really caring. It makes a difference. Creatively, at the moment, experiencing something with you.
You never once feel his theatrical knowledge imposed on you. You never once feel that youre doing something for some theatrical effect, and yet certainly he is the most effective theatrically. I heard nothing but praise of Kazan, but not what I saw. I used to sit and listen, as he told things to each character in the play. Each little thing that came up, hed explore it so, with such enthusiasm. He is the most creative person I have ever met, ever worked with, ever heard about.

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Today is the greatest day in democracy.
It's the reason we sit through all those atrocious TV commercials and all those widely scrutinized debates and all those contentious roundtable discussions.
We get to vote. We get to tell our government employees what we think of them. We get to signal our pleasure or displeasure.
I hear from people who say all is lost, the country is on the wrong track, there is no hope.
By voting, though, we say there is hope. By voting, we say we still believe in democracy and believe that things can be fixed. We say that we share the faith of our ancestors, all those long-gone relatives who loved our politics and understood the importance of the ballot. Don't you think they would vote if they could? I think of all the political fans in my family tree: the FDR, Truman and JFK Democrats; the Eisenhower, Goldwater and Nixon Republicans. Oh, what they would make of today.

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Recent big news, announced in the Hollywood Reporter, on Oct. 14, was that actor Don Cheadle would be replacing Terrence Howard in Iron Man 2. Not much information was given as to why Don Cheadle would be taking over Howards role. Unusual, that after creating, and establishing, a character in a movie; an actor is replaced in the sequel. Unusual, too, that there was no public explanation; and according to Howard, he was not informed personally.
 
 
Firing, in Hollywood, does happen. It is rare, but can occur. An actor can simply be found to be incorrect casting, once the production begins. Sometimes, unknowns are fired for not having the craft enough, to handle whats necessary to play the role. Or if the actor is irresponsible on the set, and slowing down the process of the filmmaking; is on drugs, unstable; or is arguing and creating too much conflictthese are reasons to be fired.
I dont know anything about Terrence Howard, personally. I dont have a clue about what could have caused those in charge of Iron Man 2 to replace him. I expect that some small inkling will get around soon, or something publicly stated, somewhere, in the press.
On NPR, the actor did an interview within a few days of that role replacement. (Which they put on their website, and I link to below.) Howard doesnt speak about Iron Man, not directly, but he does allude to it.
In deeper, darker spirits, than one may usually hear from a well-known actor; he discusses how he got into acting, and some negative views on acting, some technique, amongst other creative insights.
His insights may or may not be affected by the recent, sad events. Its an interesting interview to hear, unique. Howard is certainly an artistic person, and contained; yet with simmering emotion that almost makes a leap to the surface, at any moment. The sad, overall tinge of the interview is palpable, moving.
I do have some strong disagreements with his points of view, especially with what he says about acting and escaping emotion. I wonder, too, if he has a different perspective, when not under the influence of darker life events.

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Recent big news, announced in the Hollywood Reporter, on Oct. 14, was that actor Don Cheadle would be replacing Terrence Howard in Iron Man 2. Not much information was given as to why Don Cheadle would be taking over Howards role. Unusual, that after creating, and establishing, a character in a movie; an actor is replaced in the sequel. Unusual, too, that there was no public explanation; and according to Howard, he was not informed personally.
 
 
Firing, in Hollywood, does happen. It is rare, but can occur. An actor can simply be found to be incorrect casting, once the production begins. Sometimes, unknowns are fired for not having the craft enough, to handle whats necessary to play the role. Or if the actor is irresponsible on the set, and slowing down the process of the filmmaking; is on drugs, unstable; or is arguing and creating too much conflictthese are reasons to be fired.
I dont know anything about Terrence Howard, personally. I dont have a clue about what could have caused those in charge of Iron Man 2 to replace him. I expect that some small inkling will get around soon, or something publicly stated, somewhere, in the press.
On NPR, the actor did an interview within a few days of that role replacement. (Which they put on their website, and I link to below.) Howard doesnt speak about Iron Man, not directly, but he does allude to it.
In deeper, darker spirits, than one may usually hear from a well-known actor; he discusses how he got into acting, and some negative views on acting, some technique, amongst other creative insights.
His insights may or may not be affected by the recent, sad events. Its an interesting interview to hear, unique. Howard is certainly an artistic person, and contained; yet with simmering emotion that almost makes a leap to the surface, at any moment. The sad, overall tinge of the interview is palpable, moving.
I do have some strong disagreements with his points of view, especially with what he says about acting and escaping emotion. I wonder, too, if he has a different perspective, when not under the influence of darker life events.

Similar posts: actor guild screen

There is a school of thought that holds that the truest form of acting is non-representational; unreal, in our emotional terms—‘presentational’ as it were--acting without the actor’s emotional involvement. This body of opinion holds that best aesthetic acting form is created devoid of the performer’s emotional investment. They feel that emotion clouds actor’s (and writer’s) itellectual truth. (The contemporary writer/director David Mamet often instructs the actor to just ‘say his words’, fast, unimpeded by pauses and emotional involvement.)
Some contemporary advocates and devotees of Asian acting styles underscore their ‘presentational’ aspects as well. They see formal Asian styles of acting as a welcome antithetical relief to the European tradition of ‘realistic’ or emotionally involved acting, where form and substance have been traditionally symbiotically co-created.

However: Is Asian acting necessarily devoid of emotional base? Perhaps with its formal abstraction and construction it just seems non-emotionally based to Westerners. A Haiku poem may have only seventeen syllables; but does its rigidity of form necessarily preclude great passion in its genesis and transference? For that matter, is abstract dance—Eastern or Western—fundamentally emotionless? And if it not emotionally based, might we argue that it has less overall audience appeal than emotionally based dance?

The German playwright Bertolt Brecht, in the early twentieth century, after a few emotional representational plays written in his youth, and then deeply affected by the Asian theater forms, called for a ‘theater of alienation,’ where the actor’s performance—and audience--was alienated from its own emotions. (His theories went hand in hand with his political conversion to and his didactic desire to promulgate an East German brand of Marxism.) He saw the actor’s task to preach rather than to emotionally participate in any character-reality. He became convinced that the actor served the audience best by physically performing the actions of the piece in an instructive fashion, without emotional content. (Ironically, some critics say that he succeeded best in spite of himself: many of his most audience pleasing successes have been a result of audience’s emotionally connecting with his central characters, such as in the plays Mother Courage, The Good Woman of Setzuan and The Caucasian Chalk Circle. The audience learns his didactic message though feeling—emotional identification with the characters--and not simply his preaching!)

Some modern academic theorists also take great exception with what they see as the over-emphasis in modern acting on emotional reality, especially as it flows from Stanislavski to Strasberg to film. They call for a rewarding investigation into alternative styles and acting forms, with a greater emphasis on Asian and other art forms, in shape, design, body and theatricality sans emotion.
I dutifully respect their efforts; but I encourage their adherents, especially young actors who in their career, out of principle, desire, or formal training, want to emphasize the practice and performance of ‘presentational’ acting to study and practice ‘representational’ emotionally involved acting as well.

After all, the best ‘presentational’ actors must have an intimate experience with truth if they are to give it formal emotional-less shape later on. Then later, those actors who were only experimenting with 'represetational' emotion-based acting can always go back to his earlier, unemotionally involved acting: and measure the difference.

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By the way, it is only when this system becomes available, that cable television channels are created, isnt it?

In the late 1940s and early1950s Cable television originated in the United States. Cable television, started out as a service to relay TV stations to people that could not receive TV with an antenna thus the name Community Antenna Television or CATV came into existence.
The very first system is under dispute but one system John Walson, an appliance store owner in the small town of Mahanoy City, Pennsylvania had difficulty selling television sets to local residents because reception in the area was so poor. The problem was his location. The town was in a valley and nearly 90 air miles from the Philadelphia television transmitters. The signal could not pass through the mountains, and clear reception was virtually impossible, except on the ridges outside of town. Mr. Walson put a TV antenna on top a large utility pole on top of the nearby mountain. Television signals were received, and transported over twin lead antenna wire down to his store. Once people saw the TV picture, interest in buying a TV set soared, but he had to get the signal to his TV set buyers. It became his responsibility to improve the picture quality by using coaxial cable and self manufactured (amplifiers) to bring CATV to the homes of customers who bought television sets. So, one of the first cable television systems was born in June 1948.
In the late 1950s cable operators began to take advantage of microwave and other technologies to pick up broadcast signals from stations hundreds of miles away. The ability to signals from distant stations changed the focus of the cable television industry, from CATV to one providing new programming choices.
By 1962, almost 800 cable systems serving, some 850,000 subscribers, were in business
Pay television was launched in November, 1972 when Service Electric offered Home Box Office or HBO, over its cable system in Wilkes-Barre, Pennsylvania.
In was in the 1980s that most of todays most popular cable networks were launched.
From 1984 through 1992, the cable industry spent more than $15 billion on the wiring of America, and billions more on program development. This was the largest private construction project since World War II.
For the history of cable TV see this site http://www.k-state.edu/infotech/cable/history.html
Launch dates of cable networks
http://www.onetvworld.org/cgi-bin/cab_netdates.

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