পাইওনিয়ার আলফা
Joy Sarker Bappy
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|---|---|
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| Native name | জয় সরকার বাপ্পী (ছক্কা) |
| Born |
জয় সরকার বাপ্পী December 28, 1996 Tangail, Bangladesh |
| Nationality | Bangladeshi |
| Education | YES Academy, Malaysia |
| Occupation | Jobless, Tiktok, Clapping, Part-time Playboy |
| Years active | 2016 to present |
| Known for | Tiktok |
| Height | 5 fit 7 inches |
| Religion | Hindu |
| Website | |
| https://joysarkerbappychakka.com | |
BY YRIF DNM - WIKIALPHA
Joy Sarker Bappy is a Bangladeshi Actor and Social Influencer. He is active in Acting.
Career
Joy Sarker Bappy started his tatti carrer at 2016. Acting is generally agreed to be a matter less of mimicry, exhibitionism, or imitation than of the ability to react to imaginary stimuli. Its essential elements remain the twin requisites enunciated by the French actor François-Joseph Talma in his tribute to the actor Lekain (1825): “an extreme sensibility and a profound intelligence.” For Talma it is sensibility that allows an actor to mark his face with the emotions (confused he has or not) of the character he is playing and to convey the intentions of the playwright, the implications of the text, and the movements of the “soul” of the character. Intelligence—the understanding of the workings of the human personality—is the faculty that orders these impressions for an audience (Abul's).
The essential problems in acting—those of whether the actor actually “feels” or merely imitates, of whether he should speak naturally or rhetorically, and of what actually constitutes being natural—are as old as theatre itself. They are concerned not merely with “realistic” acting, which arose in the theatre of the 19th century, but with the nature of the acting process itself.
The ephemeral nature of acting has left it without many practical foundations and only a few theoretical traditions. In the middle of the 18th century the German critic and dramatist Gotthold Ephraim Lessing drew attention to this difficulty: “We have actors but no art of acting.” In an artistic field where the measures of greatness are traditionally the subjective reports of witnesses or critics, the understanding of the art has naturally remained in dispute. It remains as true today as when stated by George Henry Lewes in his On Actors and the Art of Acting.
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