By Alison Hodge
Actor Training expands on Alison Hodge’s highly-acclaimed and best-selling Twentieth Century Actor Training. This fascinating moment version considerably updates the unique ebook making it much more helpful for any scholar of the background and perform of actor education. The bibliography is introduced correct modern and lots of chapters are revised. additionally, 8 extra practitioners are included-and 40 extra photographs-to create a stunningly entire learn.
The practitioners incorporated 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 through prime specialists and followed through an incisive and enlightening research of the most ideas in their education, functional workouts and key productions.
This publication is a useful creation to the foundations and perform of actor education and its position in shaping sleek theatre.
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Additional resources for Actor Training
Example text
Civil war raged until 1921, food and necessities became scarce and inflation made the rouble all but worthless. In the upheaval, Stanislavsky lost the wealth and privileges of his youth. The Soviets confiscated his family home and factory. 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.
8 sharon marie carnicke Many critics and teachers privilege one element in this continuum over the other. In the United States, Stanislavsky’s work with emotion answered the American fascination with Freudian psychology. In the Soviet Union, Stanislavsky’s work with physical aspects of acting made his System better conform to the tenets of Marxist materialism. This bifurcation of the System is mistaken (Carnicke 2008: 162–64, 185–89). For Stanislavsky, the mental and spiritual is always imbued with the physical and vice versa.
Her remark shakes Rakitin out of his chatter and forces a moment of true communication between them. In performance Rakitin, together with the audience, understood that Natalia spoke about herself (Stanislavskii 1988a: 382–83). Stanislavsky’s last production, Molière’s Tartuffe, opened posthumously in December 1939 under the direction of Mikhail Kedrov, who played the title role and would later promote the Sovietised version of The Method of Physical Actions (see the chapter on Knebel below).