By Alison Hodge
Actor Training expands on Alison Hodge’s highly-acclaimed and best-selling Twentieth Century Actor Training. This interesting moment variation extensively updates the unique publication making it much more worthwhile for any scholar of the historical past and perform of actor education. The bibliography is introduced correct brand new and plenty of chapters are revised. moreover, 8 extra practitioners are incorporated - and 40 extra pictures - to create a stunningly entire research.
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 historic, cultural and political context of every practitioner’s paintings is obviously set out via best specialists and observed by means of an incisive and enlightening research of the most ideas in their education, functional workouts and key productions.
This publication is a useful advent to the foundations and perform of actor education and its function in shaping sleek theatre.
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Additional resources for Routledge Actor Training
Example text
He began to sell his remaining possessions to survive. ‘My life has completely changed’, he wrote. ‘I have become proletarian’ (Stanislavskii 1999: 18). When his son fell ill with tuberculosis, he could not afford treatment (Stanislavskii 1999: 110). Facing eviction in 1920, Stanislavsky turned for help to Lenin’s newly appointed Commissar of Enlightenment, Anatoly Lunacharsky, who was himself a playwright. Lunacharsky pleaded with Lenin on Stanislavsky’s behalf, stressing that he was ‘about to see his last pair of trousers’ (Hecht 1989: 2).
With each paraphrase, they incorporated more of the text (images, style, rhythms, even lines) until, as one of Stanislavsky’s actors reports, ‘we could move on to the next stage in our rehearsals, the stage when we needed the words’. The successive drafting of performance through paraphrase now ‘found greater expressiveness and completion in [the author’s] thoughts and words’. Moreover, this process ‘happened by itself, gradually as a result of our growing inner need’ (Toporkov 2002: 197–98). Just as Stanislavsky’s System for actor training remained experimental and dynamic to the end, his rehearsal methods reflect his ever-changing views on how best to establish connection between actors and their roles.
The magic if • Pass around different objects using ‘what if’ to change your relationship to them. What if this glass of water were poison? What if this glass ashtray were a frog? What if this book were a bomb? (Stanislavskii 1989: 99–100). 12 sharon marie carnicke • Take an object and change your relationship to it in successive moments: my book, the library’s book, my mother’s book (Stanislavskii 1990: 401). Communication For Stanislavsky, there can be no drama without interaction among scene partners and between actors and audience.