The Art of ActingApplause, 2000 - 271 sivua Stella Adler is arguably the most important teacher of acting in American history. Over her long career, both in New York and Hollywood, she offered her vast acting knowledge to generations of actors, including Marlon Brando, Warren Beatty, and Robert De Niro. The great voice finally ended in the early Nineties, but her decades of experience and teaching have been brilliantly encapsulated by Howard Kissel in the lessons in this book. The groundbreaking theories of the great acting teacher who influenced such outstanding actors as Marlon Brando, Robert DeNiro & Warren Beatty are now made available for a wide audience. This book is compiled from her voluminous class notes as well as audio & videotape of her teaching & is destined to become a classic in the fields of acting & theatre. Drawing on an archive of notebooks, transcriptions, and audiotapes of Adler's work, Kissel (cultural critic with the New York Daily News) presents the lessons and insights she brought to the craft of acting. Adler's classroom lectures are presented, and their significance is discussed. She addresses the discipline of the actor's body, mind, and imagination. She looks at the techniques for creating believable characters and bringing authenticity to the performance, and the importance of understanding time, setting and style. |
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Tulokset 1 - 3 kokonaismäärästä 65
Sivu 37
... feel the importance of communicating them to others . I must feel the urgency of what you have to say . The need you feel to make the audience actually see what you've seen will push your voice forward . Get used to the idea that you're ...
... feel the importance of communicating them to others . I must feel the urgency of what you have to say . The need you feel to make the audience actually see what you've seen will push your voice forward . Get used to the idea that you're ...
Sivu 83
... feel about that ? " It's part of the approach to acting that concentrates on who you are , not who the character is ... feeling . I don't know a great deal about you , but I'm willing to bet none of you is a prince of Denmark . I have ...
... feel about that ? " It's part of the approach to acting that concentrates on who you are , not who the character is ... feeling . I don't know a great deal about you , but I'm willing to bet none of you is a prince of Denmark . I have ...
Sivu 99
... feel ... STELLA : Sweetheart , I have to interrupt you . You are not interested in what he's saying . You're anxious to talk . That's not discussion . Discussion comes out of what your partner says , not what you feel . I don't want to ...
... feel ... STELLA : Sweetheart , I have to interrupt you . You are not interested in what he's saying . You're anxious to talk . That's not discussion . Discussion comes out of what your partner says , not what you feel . I don't want to ...
Sisältö
First Steps On Stage | 9 |
Acting Is Doing | 44 |
CLASS 5 | 53 |
Tekijänoikeudet | |
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acting action actor actress American American upper class animal aristocratic mind Arthur Miller artist attitude audience beautiful become Bessie Smith body Carolingian architecture chair character element chat circumstances Clifford Odets clothes Clurman costume create culture develop discuss dress emotion everything exercise fake father feel garden gesture Gibran give Group Theatre hand Harold Clurman ideas imagination important inner justification instant justification kind live look Luther Adler Marlon Brando means middle class Moscow Art Theatre muscles nature never object paint partner peasant penicillin perform person physical play playwright profession prop reminisce rhythm sense someone speak stage stand Stanislavski Stella Adler Streetcar Named Desire student talk teach technique tell Tennessee Williams theatre There's things tion truth understand voice walk wear what's words