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Stagecraft: Stanislavsky & External Acting Techniques [Minkštas viršelis]

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  • Formatas: Paperback / softback, 384 pages, aukštis x plotis x storis: 228x155x24 mm, weight: 630 g
  • Serija: Limelight
  • Išleidimo metai: 01-Mar-2011
  • Leidėjas: Limelight Editions
  • ISBN-10: 0879103841
  • ISBN-13: 9780879103842
Kitos knygos pagal šią temą:
  • Formatas: Paperback / softback, 384 pages, aukštis x plotis x storis: 228x155x24 mm, weight: 630 g
  • Serija: Limelight
  • Išleidimo metai: 01-Mar-2011
  • Leidėjas: Limelight Editions
  • ISBN-10: 0879103841
  • ISBN-13: 9780879103842
Kitos knygos pagal šią temą:
How do you go about creating a character fully and in compelling detail? How do you rehearse? Exactly what goes on during a performance? Everything you need to know as an actor about the process of bringing a play to life in today's theatre can be found in Stagecraft: Stanislavsky and External Acting Techniques. Included is complete information on the foundations of the actor's art: vocal technique, right down to grammar, punctuation, and stress patterns; movement technique, so you can create the character physically; and rehearsal and performance techniques. There is even a detailed section on applying makeup. As Stanislavsky stressed, without this kind of external work, the internal, psychological work detailed in the companion volume, Using the Stanislavsky System, cannot be "read" or understood by the audience. In Stagecraft, Blumenfeld also details the specific techniques of performing in comedy and meeting the unique demands of musical theater. The ideas of Stanislavsky's influential successors - Michael Chekhov, Yevgenyi Vakhtangov, Uta Hagen, Sanford Meisner, Stella Adler, Lee Strasberg, and many others - are included as well. This volume is a must for professional and novice actors, students and teachers alike!
Preface: Stagecraft: Internal and External Acting Technique xi
Acknowledgments xv
PART ONE STAGECRAFT AND STAGE TECHNIQUE
Introduction On Acting and Actor Training
3(6)
Chapter One Voice and Speech; Acting with an Accent
9(24)
Chapter Two Reading the Script and Finding the Subtext; Technical Aspects of Language; Speaking Shakespearean Prose and Verse
33(38)
Chapter Three Movement and Gesture; Posture; Positioning
71(34)
Chapter Four Rehearsal and Performance Techniques
105(38)
Chapter Five Performing Comedy
143(18)
Chapter Six Acting in Musical Theater and Opera
161(14)
Chapter Seven Finishing Touches: Outward Appearances, Costume, and Makeup
175(16)
PART TWO PERIOD STYLES: THE THEATER AS A REFLECTION OF HISTORY, OR EVERY PLAY IN ITS TIME
Introduction Stanislavsky's Approach to Period Styles
191(6)
Chapter Eight Ancient Greece and Rome
197(14)
Chapter Nine The Medieval Period
211(8)
Chapter Ten The Renaissance: Elizabethan England; Willaim Shakespeare
219(8)
Chapter Eleven The Seventeenth Century in France and England: Moliere; William Congreve
227(12)
Chapter Twelve The Eighteenth Century: The French Revolution; the Napoleonic Era; the Dawn of the Romantic Age
239(16)
Chapter Thirteen The Later Nineteenth Century: Victorian England and Beyond
255(22)
Chapter Fourteen The Turn of the Twentieth Century; World War One; the Roaring Twenties and the Great Depression; World War Two
277(24)
PART THREE SOME POST-STANISLAVSKIAN APPROACHES TO THEATER, CHARACTER CREATION, AND THE ART OF ACTING
Introduction Dissent and Variations
301(2)
Chapter Fifteen The Russians: Vsevelod Meyerhold, Yevgenyi Vakhtangov
303(8)
Chapter Sixteen The Russian Emigres: Maria Ouspenskaya and Richard Boleslavsky; Michael Chekhov
311(8)
Chapter Seventeen The Americans: Stella Adler; Lee Strasberg; Sanford Meisner; Morris Carnovsky; Uta Hagen
319(12)
Chapter Eighteen The Influence of Berthold Brecht: Joseph Chaikin; Jerzy Grotowski
331(6)
Chapter Nineteen Some Notes on Contemporary Developments: Augusto Boal; Anne Bogart's Viewpoints and Tadashi Suzuki's Approach
337(6)
An Annotated Glossary of Acting Terms 343(16)
Selected Bibliography 359(8)
Index of People 367