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By Alison Hodge
Actor Training expands on Alison Hodge’s highly-acclaimed and best-selling Twentieth Century Actor Training. This fascinating moment variation significantly updates the unique booklet making it much more beneficial for any scholar of the background and perform of actor education. The bibliography is introduced correct brand new and lots of chapters are revised. moreover, 8 extra practitioners are included-and 40 extra photographs-to create a stunningly complete examine.
The practitioners integrated are:
Stella Adler; Eugenio Barba; Augusto Boal; Anne Bogart; Bertolt Brecht; Peter Brook; Michael Chekhov; Joseph Chaikin; Jacques Copeau; Philippe Gaulier; Jerzy Grotowski; Maria Knebel; Jacques Lecoq; Joan Littlewood; Sanford Meisner; Vsevolod Meyerhold; Ariane Mnouchkine; Monika Pagneux; Michel Saint-Denis; Włodzimierz Staniewski; Konstantin Stanislavsky; Lee Strasberg
The ancient, cultural and political context of every practitioner’s paintings is obviously set out via top specialists and observed through an incisive and enlightening research of the most rules in their education, functional routines and key productions.
This publication is a useful advent to the rules and perform of actor education and its position in shaping sleek theatre.
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Extra resources for Actor Training
In one surreptitious production, he met his future wife; she too was acting on the sly as Maria Lilina. No wonder the Moscow Art Theatre adopted a seagull as its visual logo. These productions were Hamsun’s The Drama of Life, Andreev’s The Life of Man and Maeterlinck’s The Blue Bird. This house has since become one of Moscow’s museums. Unfortunately, Stanislavsky’s books (My Life in Art, An Actor’s Work on Himself, Parts I and II and An Actor’s Work on the Role) in whatever language will forever bear the censor’s marks.
3 The actors incorporate words as elements of communication only after a ﬁrm grounding in non-verbal means. Stanislavsky asks actors to improvise familiar situations using their own words. Improvisations using words • • • • • An art exhibit. Several visitors and one art dealer. A thrift store. Several customers and one salesperson. A is waiting for B, but C arrives instead. A visits B to ask for money; B refuses. A day at work: the boss, the secretary, the janitor (Stanislavskii 1990: 405–7). GROUP II The System oﬀers actors a variety of ways to work on roles.
They fall into two broad groups: techniques that foster a proper stanislavsky’s system 9 ‘sense of self’ and hence induce in the actor a creative state of ‘experiencing’, and methods that oﬀer pathways into dramatic texts for the successful creation of characters. GROUP I The actor develops a theatrical sense of self by learning to control the skills of concentration, imagination and communication. Many exercises in this group derive from Stanislavsky’s fascination with Yoga. Concentration Stanislavsky expects total mental and physical concentration on stage.
Actor Training by Alison Hodge