Book Description
Written with the same warmth, liveliness and ability to re-create reality that made Stanislavski a great actor, his autobiography tells of his childhood in the world of Moscow's wealthy merchants, his successes and failures as an amateur actor, how he studied human beings, and developed what has come to be known as the "Stanislavski Method," how his group of dedicated amateurs became "perhaps the greatest acting group the world has ever known (Washington Post)," The Moscow Art Theatre.
Customer Reviews:
From the Russian Master himself!.......2007-09-22
Stanislavsky is still the most influential figure in modern or contemporary theater. In this book, he is open about his life especially the rough years in Russia, his first exposure to the theater, his first time at directing. He also writes about his professional relationship with another Russian, Anton Chekhov. He writes about his travels mostly in Russia such as his journeys to Petrograd, the Russian provinces that inspired many of Chekhov's plays, and of course his first journey abroad. The book is really for theater junkies like myself who would have loved to have been a theatrical actress or director but life isn't so bad. He has directed William Shakespeare's tragedies like Othello and Julius Caesar along with Chekhov favorites like The Cherry Orchard, The Three Sisters, Uncle Vanya and The Sea Gull. Stanislavsky also founded and developed the Moscow Theater Company. He did it all for love, not money nor fame. He became rich in so many other ways.
A Life To Aspire To.......2006-05-08
For those in the arts, and especially those in dramatic art, this book is a must. It is the account of the father of modern truthful acting and a look into what a life spent towards creating art is about. While at times the book can drag a bit and get wordy, there is too much insight and inspiration in this book to pass it by. It is so wonderful to have an account of this mans amazing life in his own words to read, study and eventually aim for.
A must read for those of the stage!
a first hand account of the birth of the modern theatre.......2006-01-15
This book is Stanislavski account of his experiences in working at the Moscow Art Theatre that he Co-founded with Vladimir Danthcheko ( who also wrote a similar book from his perspective titled ' My life in the Russian Theatre'). The book deals with the problems the duo faced in ushering in modern theatre as we know it today and the solutions they came up with. Highly recommended for those interested in learning about this major revolution that happened in theatre at the end of 19th century.
For the actor and the historian.......2000-04-12
"Love the art in yourself, not yourself in the art." Truly one of the world's greatest arts educators, Stanislavsky's autobiography is beautifully written. It is a fascinating portrait of the history of modern acting and also of Russian history. Absolutely key for understanding the Method, and the development of today's theater.
Customer Reviews:
A Book For Serious Actors.......2004-06-27
Firstly, if you are not truly devoted to acting, you will not find this book all that interesting. But if you are a Method devotee, then you will find much info & interesting anecdotes here.
strasbeg's system.......2000-09-13
Probably the most famous acting teacher in modern times. I think this book is a necessary read for any actor, teacher, director. I've read and heard so much controversy over this man. It's fascinating to read about his journey. Some of the stereotypes of his method are crushed in this book. I have to respect these teachers who devoted their lives to finding some kind of answer for their students and actors everywhere. Strasberg, Adler, Meisner, Lewis, Hagen. Even if you don't agree with his ideas or techniques it is an extremely interesting read on the evolution of theater in this country.
strasbeg's system.......2000-09-13
Probably the most famous acting teacher in modern times. I think this book is a necessary read for any actor, teacher, director. I've read and heard so much controversy over this man. It's fascinating to read about his journey. Some of the stereotypes of his method are crushed in this book. I have to respect these teachers who devoted their lives to finding some kind of answer for their students and actors everywhere. Strasberg, Adler, Meisner, Lewis, Hagen. Even if you don't agree with his ideas or techniques it is an extremely interesting read on the evolution of theater in this country.
WHAT A GREAT BOOK!.......2000-05-02
This book is absoulutly grreat! If you want to get into acting, you must read this book. I gauruntee it :)
Book Description
Reset and redesigned to offer a fresh look, this is an essential, comprehensive guide to the art and science of acting, as taught by the creator and great teachers of the Stanislavski Method.
Customer Reviews:
great reference work.......2002-07-27
Truly a must have reference for any aspiring actor. Not dry or boring like other reviewer stated. It is fast paced and offers practical info. A classic!
Worthy........2000-02-08
This is a pretty good overview of Stanislavski's "Method Acting" as used by Brando, Dean, and Pacino.
At times, the book drones on and on...tiring you out. So if you can rent it at the library, do it.
Average customer rating:
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The Moscow Art Theatre (Theatre Production Studies)
Nick Worrall
Manufacturer: Routledge
ProductGroup: Book
Binding: Hardcover
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ASIN: 0415055989 |
Book Description
The Moscow Art Theatre is a detailed look at this famous theater company and its founder, Stanislavsky, whose reputation as a theater director and theoretician is unparalleled. Unprecedented in its comprehensiveness, it fills a large gap in our knowledge of Stanislavsky and his theater.
With descriptions of fifty Moscow Art Theatre productions between 1898 and 1917--including A Month in the Country and The Cherry Orchard--Nick Worrall provides an account of the historical background of the company and the ways in which it ran its affairs, recruited its actors, established a repertoire and equipped its theatre buildings. He highlights the work not only of Stanislavsky and his well known colleagues, but also the less-well known people who made an essential contribution to the artistic success and financial survival of the company.
Book Description
Jean Benedetti's Stanislavski is the clearest and most succinct explanation of Stanislavski's writings and ideas, especially those in the Stanislavski's acting trilogy - An Actor Prepares, Building a Character, and Creating a Role - a staple of every actor's library.
Now thoroughly revised and available in an attractive new edition, Stanislavski: An Introduction provides the perfect guide through the Master's writing.
Book Description
In Stanislavski and the Actor, Stanislavski scholar and biographer Jean Bendetti has recovered materials that can stand as a final, "last work" by the great director and teacher. In this volume readers will find the first English text of Stanislavski s notes and practical exercises from these last sessions.
This is a major rediscovered work by Stanislavski, full of new ideas and insights about his working method. To the original materials Jean Benedetti adds his own analysis of Stanislavski's approach to acting and rehearsal methods.The master's own summary of a lifetime of theatrical experience, Stanislavski and the Actor will quickly become an essential tool for actors, students, and teachers everywhere.
Customer Reviews:
Easy to Understand, Great Introduction to Stanislavski.......2000-12-06
Benedetti first outlines Stanislavski's Method of Physical action, a term which Benedetti does not think accurately denotes the idea it represents. He prefers to refer to it as the Method of Analysis through Physical Action because it recognizes that physical movement is not the sole ingredient for good acting. Nonetheless, how an actor moves partly determines how his audience will react. If the movements are believable and comparable to the viewer's own movement, the viewer will be able to identify with the actor's performance. In other words, although acting is a created behavior, it must appear real. Benedetti coins the terms, the "Real I" and the "Dramatic I" to illustrate the difference and the process of creating a character. He notes the actor must "create a Dramatic `I' that will look and sound as human as a Real `I'" (4). The most important factor in making this transition, according to Benedetti, is belief. The actor must believe his situation is true, and his attitude toward his movements and the treatment of other actors and objects will seem true. There are three phases in achieving this goal: (1) I am being, which involves creating past and future character histories for the play along with dividing the play into its thematic parts and exploring the subtext, (2) The Third Being, where the text's structure is examined in the context of its history and the text merges with the actor's experiences and actions, and (3) The Creative Actor in the Play, which refines the actor's performance and cuts superfluous movement. Benedetti then explains Stanislavski's system, or technique, to create the Dramatic `I.' Stanislavski believed in continual practice of exercises to keep the actor's body and voice finely tuned like a musical instrument. Benedetti presents a variety of such exercises that attempt to break movements into their smallest parts, thereby making the actor acutely aware of how his body works. These exercises later translate into the components of dramatic action. For example, if an actor was supposed to place a candle down (like Jim in The Glass Menagerie scene with Laura), he would not just simply bend over and put the candle on the ground. The actor might first look around for a suitable place, set the candle down, then adjust its position to prevent the wax from dripping. The exercises for mental action are perhaps the most important for creating the belief necessary to create the Dramatic `I.' How an actor focuses his senses and concentrates on his surroundings is essential to a believable performance. The mechanics of focus and concentration are similar to the mechanics of movement, and Stanislavski encourages actors to dissect this as well. Understanding how one achieves this in reality also simplifies the process of creating an imaginary world for the actor. The actor imagines his character's past, present, and future memories along with much of his physical setting. With a trained imagination, Stanislavski believes an actor will believe he is the character. The section I found particularly helpful regarding creating this imaginary world dealt with subtext. It is similar to the GOTE method in its results, but is far simpler to remember once on stage. Stanislavski's initial analysis of a text's subtext involves creating an Inner Monologue that is accompanied by Mental Images. The actor predetermines his character's thoughts and sights for performance. Since, in reality, much of a person's thoughts are devoted to wants and needs, I have observed that the created inner monologue will map out the actor's goals. The benefit of the inner monologue, however, is that is supplies the logical transition between these goals. For example, if an actor's goal is first "I want to see X better," then "I want to kiss X," there is a significant mental jump. The inner monologue may be "I can't quite see X's face. Oh, he just stepped into more light . . . my, he's very attractive. I'd like to kiss him." Although it is a subtle difference, the inner monologue implies the goals while supplying a sensible transition between them (i.e. through-emotion, as Benedetti terms this).
Book Description
Stanislavsky, undisputed pioneer of modern acting technique, continues to form the backbone of much drama teaching, actor-training and theatre practice. Yet many of his ideas remain either elusive or misunderstood. This concise and readable book explains his influence, looks at his life history, assesses his widely read text i An Actor Prepares /i , and gives both a detailed commentary of the key 1898 production of i The Seagull /i and an indispensable set of practical exercises for actors, teachers and directors. It is a complementary mixture of student-friendly analysis and practitioners' handbook. It will prove invaluable material for readers new to Stanislavsky while also giving some fascinating new insights to those familiar with his work.
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Science and the Stanislavsky Tradition of Acting (Routledge Advances in Theatre and Performance Studies)
Jonath Pitches
Manufacturer: Routledge
ProductGroup: Book
Binding: Hardcover
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ASIN: 0415329078 |
Book Description
Science and the Stanislavsky Tradition of Acting offers new insight into the well-known tradition of acting. Rooted in practice this is the first book to contextualize the Stanislavsky tradition with reference to parallel developments in science, it presents an alternative perspective based on philosophy, physics, romantic science and theories of industrial management.
Working from practical sources, historical and archive material Jonathan Pitches traces an evolutionary journey of actor training from the roots of the Russian tradition, Konstantin Stanislavsky, to the contemporary Muscovite director, Anatoly Vasiliev. The book explores two key developments that emerge from Stanislavsky's system - one linear, rational and empirical, while the other is fluid,organic and intuitive. The otherwise highly contrasting acting theories of Vsevolod Meyerhold (biomechanics) and Lee Strasberg (the Method) are dealt with under the banner of the rational or Newtonian paradigm; Michael Chekov's acting technique and the little known ideas of Anatoly Vasiliev form the centerpiece of the other Romantic, organic strain of practice. Science and the Stanislavsky Tradition of Acting opens up the theatre laboratories of five major practitioners in the twentieth and twenty first centuries and scrutinizes their acting methodologies from a scientific perspective.
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Geoffrey of Burton: Life and Miracles of St Modwenna (Oxford Medieval Texts)
Robert Bartlett
Manufacturer: Oxford University Press, USA
ProductGroup: Book
Binding: Hardcover
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ASIN: 0198206062 |
Book Description
Geoffrey of Burton's Life and Miracles of St Modwenna (BHL 2097) is among the most substantial pieces of twelfth-century English hagiographic writing not previously to have appeared in print. It was produced by the abbot of Burton, where Modwenna's bones supposedly lay, in the period 1118-50, and consists of two parts of unequal length: the vita or Life proper, and the collection of miracle stories. The first part, forming about four-fifths of the total text, was based on an earlier Life by the Irish author Conchubranus, which Geoffrey revised and modified in style and substance. His creative rewriting of the Life throws much light on the Latinity, religious attitudes, and historical consciousness of an early twelfth-century Benedictine author. The second and shorter part of the text is made up of accounts of the miraculous cures and punishments connected with Modwenna's shrine at Burton. Geoffrey composed these stories on the basis of oral traditions and his own experience and they constitute a valuable source for the social and religious history of this part of England in the Norman period.
Book Description
This digital document is an article from The Historian, published by Thomson Gale on June 22, 2004. The length of the article is 542 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: Life and Miracles of St. Modwenna.(Book Review)
Author: Susan P. Millinger
Publication:
The Historian (Magazine/Journal)
Date: June 22, 2004
Publisher: Thomson Gale
Volume: 66
Issue: 2
Page: 388(2)
Article Type: Book Review
Distributed by Thomson Gale
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