Inhoudsopgave:
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\u003cdiv\u003e\u003cp\u003e\u003ci\u003eSuccessful acting must reflect a society\u0026rsquo;s current beliefs. The men and women who developed each new technique were convinced that previous methods were not equal to the full challenges of their time and place, and the techniques in this book have been adapted to current needs in order to continue to be successful methods for training actors. The actor\u0026rsquo;s journey is an individual one, and the actor seeks a form, or a variety of forms, of training that will assist in unlocking his own creative gifts of expression.\u003c/i\u003e\u0026mdash;from the introduction\u003c/p\u003e\u003cp\u003eThe first comprehensive survey and study of the major techniques developed by and for the American actor over the past 60 years. Each of the 10 disciplines included is described in detail by one of today\u0026rsquo;s foremost practitioners.\u003c/p\u003e\u003cp\u003ePresented in this volume are:\u003c/p\u003e\u003cp\u003e\u0026bull; \u003ci\u003eLee Strasberg\u0026rsquo;s Method\u003c/i\u003e by Anna Strasberg, Lee\u0026rsquo;s former student, widow, and current director of The Lee Strasberg Theatre Institute\u003cbr\u003e \u0026bull; \u003ci\u003eStella Adler Technique\u003c/i\u003e by Tom Oppenheim, Stella\u0026rsquo;s grandson and artistic director of the Stella Adler Institute in New York\u003cbr\u003e \u0026bull; \u003ci\u003eSanford Meisner Technique\u003c/i\u003e by Victoria Hart, director of the Meisner Extension at New York University\u003cbr\u003e \u0026bull; \u003ci\u003eMichael Chekhov Technique\u003c/i\u003e and \u003ci\u003eThe Mask\u003c/i\u003e by Per Brahe, a Danish teacher inspired by Balinese dance and introduced to the Chekhov technique in Russia\u003cbr\u003e \u0026bull; \u003ci\u003eUta Hagen Technique\u003c/i\u003e by Carol Rosenfeld, who taught under Hagen\u0026rsquo;s tutelage at the Herbert Berghof (HB) Studio\u003cbr\u003e \u0026bull; \u003ci\u003ePhysical Acting Inspired by Grotowski\u003c/i\u003e by Stephen Wangh, who studied with Jerzy Grotowski himself\u003cbr\u003e \u0026bull; \u003ci\u003eThe Viewpoints\u003c/i\u003e by Mary Overlie, the creator of Viewpoints theory\u003cbr\u003e \u0026bull; \u003ci\u003ePractical Aesthetics\u003c/i\u003e by Robert Bella of the David Mamet-inspired Atlantic Theatre Company school\u003cbr\u003e \u0026bull; \u003ci\u003eInterdisciplinary Training\u003c/i\u003e by Fritz Ertl, who teaches at the Playwrights Horizons Theatre School\u003cbr\u003e \u0026bull; \u003ci\u003eNeoclassical Training\u003c/i\u003e by Louis Scheeder, director of the Classical Studio of New York University\u003c/p\u003e\u003cp\u003e\u003cb\u003eArthur Bartow\u003c/b\u003e is the artistic director of the Department of Drama at New York University\u0026rsquo;s Tisch School of the Arts. A former associate director of Theatre Communications Group, he is the author of the landmark book \u003ci\u003eThe Director\u0026rsquo;s Voice\u003c/i\u003e.\u003c/p\u003e\u003c/div\u003e |
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