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. |
Kirjan sisältä
Tulokset 1 - 3 kokonaismäärästä 86
Sivu 237
... played the role , the play was revived ; the part was his and now he could play it . Stanislavski realized plays were being written that could no longer be acted in the traditional way . He knew he had to cre- ate a way in which these ...
... played the role , the play was revived ; the part was his and now he could play it . Stanislavski realized plays were being written that could no longer be acted in the traditional way . He knew he had to cre- ate a way in which these ...
Sivu 238
... play the play and you play the character to reveal the author's idea . You never play yourself . The actor's aim is to serve the theatre , never himself . The late 19th century plays Stanislavski was wrestling with dealt with social ...
... play the play and you play the character to reveal the author's idea . You never play yourself . The actor's aim is to serve the theatre , never himself . The late 19th century plays Stanislavski was wrestling with dealt with social ...
Sivu 247
... play at a recital . In a play you'd show him running back to his room to practice . You'd show him doing things with the violin . Can you find ambition in yourself ? Remember , you cannot reduce any character to one element . It's not ...
... play at a recital . In a play you'd show him running back to his room to practice . You'd show him doing things with the violin . Can you find ambition in yourself ? Remember , you cannot reduce any character to one element . It's not ...
Sisältö
First Steps On Stage | 9 |
The World of the Stage Isnt Your World | 29 |
Acting Is Doing | 44 |
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