By Alison Hodge
Actor Training expands on Alison Hodge’s highly-acclaimed and best-selling Twentieth Century Actor Training. This fascinating moment variation significantly updates the unique publication making it much more necessary for any scholar of the background and perform of actor education. The bibliography is introduced correct brand new and plenty of chapters are revised. moreover, 8 extra practitioners are included-and 40 extra photographs-to create a stunningly complete learn.
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 ancient, cultural and political context of every practitioner’s paintings is obviously set out through major specialists and followed via an incisive and enlightening research of the most rules in their education, useful workouts and key productions.
This ebook is a useful advent to the foundations and perform of actor education and its position in shaping smooth theatre.
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Extra resources for Actor Training
10 sharon marie carnicke Smell • • Close your eyes, relax, and focus on what you can smell within the surrounding room. Open your eyes, and recall precisely what you sensed. Imaginatively recreate familiar smells: the sea, hot chocolate, roses. Taste • • Describe the present taste in your mouth to another person. Imaginatively recreate familiar tastes: lemon, vinegar, sugar. Aﬀect In addition to the ﬁve physical senses, Stanislavsky adds a sixth, emotion. Indeed, in Russian the word for ‘feelings’ applies equally to emotional and physical sensations.
Exercises on actions • • • 2 Strike a pose; observers select an active verb expressed by your pose. Now, improvise a scene using the verb. Choose active verbs and execute them, changing the circumstances under which they are performed. Sit down in order to relax, in order to hide, in order to better hear what’s happening in the next room, in order to read a book; enter the room in order to visit close friends, in order to meet your lover, in order to interview for a job; shake your partner’s hand in order to apologise, in order to be hospitable, in order to meet a famous casting agent.
In Act I, when the tutor enters, Natalia ‘observes’ him closely, ‘ﬂirts’ and ‘pets’ her son (Stanislavskii 1988a: 385). For many scenes, Stanislavsky also distinguishes between activities and actions. He notes that when the curtain opens, Natalia and her would-be lover Rakitin carry on a desultory conversation (their activity). However, Natalia’s absorption with the tutor and Rakitin’s unsuccessful ﬂirtation form the hidden, subtextual action. ‘She concentrates [inwardly]’, Stanislavsky explains, ‘and that is why she seems externally distracted’ (Stanislavskii 1988a: 377).
Actor Training by Alison Hodge