By Alison Hodge
Actor Training expands on Alison Hodge’s highly-acclaimed and best-selling Twentieth Century Actor Training. This fascinating moment version substantially updates the unique booklet making it much more helpful for any pupil of the historical past and perform of actor education. The bibliography is introduced correct modern and plenty of chapters are revised. furthermore, 8 extra practitioners are included-and 40 extra photographs-to create a stunningly entire examine.
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 through top specialists and followed through an incisive and enlightening research of the most ideas in their education, sensible workouts and key productions.
This e-book is a useful creation to the foundations and perform of actor education and its function in shaping glossy theatre.
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Extra info for Actor Training
Stanislavsky’s work on the role of Famusov (Griboedov’s Woe from Wit) utilises this technique. He mentally sees himself in Famusov’s house, walking through its many rooms, visualising himself sitting in the study, sleeping in the feather bed, ascending the staircases. Thus, Stanislavsky creates a personal vision, a ‘ﬁlmstrip’, of himself in the role (Stanislavskii 1991: 69–74). 14 sharon marie carnicke The process of aﬀective cognition • • • Analyse all details in a play to illuminate the lives of the characters.
Echoing Ribot’s assertion that ‘a disembodied emotion is a non-existent one’ (Ribot 1897: 95), Stanislavsky insists that: ‘In every physical action there is something psychological, and in the psychological, something physical’ (Stanislavskii 1989: 258). In his holistic System, Stanislavsky also links spirit to the human psyche by embracing Yoga, which views the physical as a threshold into the spiritual. The ‘organic connection of body and soul’ is so strong, he insists, that artiﬁcial respiration revives not only ﬂesh, but also ‘the life of the spirit’ (Stanislavskii 1989: 349).
He began to develop what he called a ‘grammar’ of acting in 1906, when his performances as Dr Stockmann (An Enemy of the People) had begun to falter. He brought his new ideas and techniques to his home company in 1909 whilst rehearsing Turgenev’s A Month in the Country. Although he had banned Danchenko from attending these rehearsals so as to alleviate tension, he still met with resistance from the actors, who had succeeded in Chekhov’s plays without any ‘eccentric’ exercises. In 1911, a frustrated Stanislavsky threatened to resign if the company did not adopt his System as its oﬃcial working method.