Palakun

Palakun, aktor, aktris, atawa pamain pilem adalah urang nang mamaranakan sabuting tokoh dalam fiksi,^[1] baik dalam media tradisiunal nang kaya teater, maupun dalam media mudirin nang kaya pélém, radio, wan televisi. Interpretasi pamain peran—sani bamain peran bahubungan lawan peran nang dimainakan, apakah didasari pada urang nang nyata atawa karakter fiksi. Ngni jua kawa dianggap "peran aktor", nang disambat kaya ngitu karana gulungan nang digunaakan di teater. Interpretasi tajadi bahkan pas pamain pilem "mainakan diri buhannya saurang", kaya dalam babarapa bantuk seni pertunjukan/seni pamentasan eksperimental.

Sabalumnya, di Yunani kuno wan di dunia abad patangahan, wan di Inggris pas zaman William Shakespeare, lalakian haja nang kawa manjadi pamain pilem, wan peran bibinian umumnya dimainakan ulih laki-laki atawa lalaki.^[2] Samantara Roma Kuno ma'izinakan pamain binian di panggung, sadikit haja nang dibari peran bapandir. Namun, commedia dell'arte di Italia ma'izin'akan urang padusi profesional gasan baperan awal; Lucrezia Di Siena, nang ngarannya ada di kontrak aktor matan 10 Uktubir 1564, sudah disambat sabagai pamain pilem Italia partama nang dikatahui lawan ngarannya, lawan Vincenza Armani wan Barbara Flaminia sabagai primadonna partama wan aktris nang didokumentasi baik di Italia (wan di Irupa).^[3] Imbah Restorasi Inggris tahun 1660, bibinian mulai tampil di pentas di Inggris. Di zaman modern, tarutama di pantomim wan babarapa opera, bibinian kadang-kadang bamain peran laki-laki atawa lalakian anum.^[4]

Rujukan

Wikimedia Commons baisi tumbung pasal Palakun

↑ "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).
↑ Neziroski, Lirim (2003). "narrative, lyric, drama". Theories of Media :: Keywords Glossary :: multimedia. University of Chicago. Diakses tanggal 9 Juli 2026. 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.
↑ Giacomo Oreglia (2002). Commedia dell'arte. Ordfront. ISBN 91-7324-602-6
↑ JULIET DUSINBERRE. "Boys Becoming Women in Shakespeare's Plays" (PDF). S-sj.org. Diarsipkan dari versi asli (PDF) tanggal 23 Juli 2008. Diakses tanggal 9 Juli 2026.

[1] "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).

[Neziroski_2003-2] Neziroski, Lirim (2003). "narrative, lyric, drama". Theories of Media :: Keywords Glossary :: multimedia. University of Chicago. Diakses tanggal 9 Juli 2026. 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.

[GO-3] Giacomo Oreglia (2002). Commedia dell'arte. Ordfront. ISBN 91-7324-602-6

[PDF-4] JULIET DUSINBERRE. "Boys Becoming Women in Shakespeare's Plays" (PDF). S-sj.org. Diarsipkan dari versi asli (PDF) tanggal 23 Juli 2008. Diakses tanggal 9 Juli 2026.

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