By Alison Hodge
Actor Training expands on Alison Hodge’s highly-acclaimed and best-selling Twentieth Century Actor Training. This intriguing moment variation extensively updates the unique publication making it much more worthwhile for any pupil of the historical past and perform of actor education. The bibliography is introduced correct brand new and plenty 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 by means of best specialists and observed by means of an incisive and enlightening research of the most rules in their education, sensible workouts and key productions.
This booklet is a useful advent to the rules and perform of actor education and its function in shaping smooth theatre.
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Extra info for Actor Training
Concentration Stanislavsky expects total mental and physical concentration on stage. He calls this psychophysical state public solitude. In it, actors tune out anything external to the world of the play. They behave in public as if in private. Stanislavsky teaches the importance of such a state of absorption by relating the Hindu story of a maharaja who oﬀers the position of governmental minister to the person able to carry a pitcher of milk around the walls of the bustling city without spilling a drop (Stanislavskii 1989: 164).
Not a bird, a dog, a cuckoo, an owl, a nightingale, or clocks, or jingling bells, not even one cricket to be heard’ (Benedetti 1990: 135). Bibliography All translations from Russian sources are the author’s unless otherwise indicated. Autant-Mathieu, Marie Christine (2003) ‘Stalin and the Moscow Art Theatre’, Slavic and East European Performance 28 (3): 70–85.
Aﬀective cognition (also called cognitive analysis) This technique for analysing a play consists of two parts. First, the cast come together to discuss each element in the play and all the historical details of its world in extended sessions at the table. ) Second, actors work individually by visualising distinct moments from their characters’ lives, thus imaginatively empathising with them. ) Such fantasy incorporates the elements and details discovered by the cast as a whole. Stanislavsky’s work on the role of Famusov (Griboedov’s Woe from Wit) utilises this technique.