Stanislavski's groundbreaking acting system, developed from his work in the Moscow Art Theater and acknowledged the world over, found its greatest success in America where its methods have been used for over fifty years by the Actor's Studio in New York. "Building a Character," the second volume in Stanislavski's acclaimed trilogy, continues the total immersion in technique and class scenarios begun in "An Actor Prepares."
Stanislavski's groundbreaking acting system, developed from his work in the Moscow Art Theater and acknowledged the world over, found its greatest success in America where its methods have been used for over fifty years by the Actor's Studio in New York. "Building a Character," the second volume in Stanislavski's acclaimed trilogy, continues the total immersion in technique and class scenarios begun in "An Actor Prepares."Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Constantin Stanislavski (1863-1938), arguably the most influential director in the history of the theater, was the founder of the renowned Moscow Art Theater. A pioneer of psychological realism and improvisation on the stage, he devoted his life to developing the performance techniques now emulated throughout the world.
Inhaltsangabe
Chapter 1 Toward a Physical Characterization Chapter 2 Dressing a Character Chapter 3 Characters and Types Chapter 4 Making the Body Expressive Chapter 5 Plasticity of Motion Chapter 6 Restraint and Control Chapter 7 Diction and Singing Chapter 8 Intonations and Pauses Chapter 9 Accentuation: The Expressive Word Chapter 10 Perspective in Character Building Chapter 11 Tempo-Rhythm in Movement Chapter 12 Speech Tempo-Rhythm Chapter 13 Stage Charm Chapter 14 Toward an Ethics for the Theatre Chapter 15 Patterns of Accomplishment Chapter 16 Some Conclusions on Acting
Explanatory Note by the Translator \ 1. Toward a Physical Characterization \ 2. Dressing a Character \ 3. Characters and Types \ 4. Making the Body Expressive \ 5. Plasticity of Motion \ 6. Restraint and Control \ 7. Diction and Singing \ 8. Intonations and Pauses \ 9. Accentuation: The Expressive Word \ 10. Perspective in Character Building \ 11. Tempo-Rhythm in Movement \ 12. Speech Tempo-Rhythm \ 13. Stage Charm \ 14. Toward an Ethics for the Theatre \ 15. Patterns of Accomplishment \ 16. Some Conclusions on Acting \ Index.
Chapter 1 Toward a Physical Characterization Chapter 2 Dressing a Character Chapter 3 Characters and Types Chapter 4 Making the Body Expressive Chapter 5 Plasticity of Motion Chapter 6 Restraint and Control Chapter 7 Diction and Singing Chapter 8 Intonations and Pauses Chapter 9 Accentuation: The Expressive Word Chapter 10 Perspective in Character Building Chapter 11 Tempo-Rhythm in Movement Chapter 12 Speech Tempo-Rhythm Chapter 13 Stage Charm Chapter 14 Toward an Ethics for the Theatre Chapter 15 Patterns of Accomplishment Chapter 16 Some Conclusions on Acting
Explanatory Note by the Translator \ 1. Toward a Physical Characterization \ 2. Dressing a Character \ 3. Characters and Types \ 4. Making the Body Expressive \ 5. Plasticity of Motion \ 6. Restraint and Control \ 7. Diction and Singing \ 8. Intonations and Pauses \ 9. Accentuation: The Expressive Word \ 10. Perspective in Character Building \ 11. Tempo-Rhythm in Movement \ 12. Speech Tempo-Rhythm \ 13. Stage Charm \ 14. Toward an Ethics for the Theatre \ 15. Patterns of Accomplishment \ 16. Some Conclusions on Acting \ Index.
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