By Alison Hodge
Actor Training expands on Alison Hodge’s highly-acclaimed and best-selling Twentieth Century Actor Training. This fascinating moment variation notably updates the unique publication making it much more useful for any pupil of the heritage and perform of actor education. The bibliography is introduced correct modern and plenty of chapters are revised. additionally, 8 extra practitioners are included-and 40 extra photographs-to create a stunningly complete learn.
The practitioners incorporated 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 by means of best specialists and followed by way of an incisive and enlightening research of the most ideas in their education, sensible routines and key productions.
This booklet is a useful advent to the foundations and perform of actor education and its position in shaping smooth theatre.
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Additional info for Actor Training
Shakespeare 1974: 1318). This moment marks a reversal point, when Macbeth’s action begins to be modiﬁed by his wife’s, paving the way for the event to occur. A play reveals its anatomy through the chain of events, which tells the story. Each event carries diﬀerent weight according to its sequence and function within the play. The event that begins the play is the inciting event; the one which resolves the through-action is climactic. Others may be main or incidental, depending on their relative importance to the story or to subplots within it (Kovshov 1983: 84–95; Knebel’ 1971: 57–62).
His work with the actors certainly aimed to do so. Rehearsals for A Month in the Country began with two months ‘at the table’, discussing the nuances behind every line. Once ‘on their feet’, Stanislavsky conducted a series of exercises on feelings, concentration and communication. At one rehearsal the actors explored remembered emotions, transitions from one feeling to another and simplicity of expression. The next day, they tested circles of attention. These exercises, as well as others on communicating with the eyes alone, speaking without gestures and playing scenes without words (silent études), clearly anticipate the System’s inner techniques.
Once ‘on their feet’, Stanislavsky conducted a series of exercises on feelings, concentration and communication. At one rehearsal the actors explored remembered emotions, transitions from one feeling to another and simplicity of expression. The next day, they tested circles of attention. These exercises, as well as others on communicating with the eyes alone, speaking without gestures and playing scenes without words (silent études), clearly anticipate the System’s inner techniques. The Turgenev promptbook also anticipates the System’s overarching emphasis on action.