Actors on Acting : The Theories, Techniques, and Practices of the World's Great Actors, Told in Their Own Words

ISBN-10: 051788478X

ISBN-13: 9780517884782

Edition: 4th

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Description:

Redesigned with a contemporary new cover, this is a comprehensive consideration of all aspects of the actor's art and craft, as told by the theater's greatest practitioners, from ancient Greece to the 20th century.
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Book details

Edition: 4th
Publisher: Crown Publishing Group
Publication date: 9/26/1995
Binding: Paperback
Pages: 736
Size: 6.25" wide x 9.00" long x 1.50" tall
Weight: 1.628
Language: English

Introduction
Greece: The Artists of Dionysusp. 3
On Inspirationp. 6
On Imitationp. 8
Passion, Speech, and Gesturep. 11
Management of the Voicep. 12
Why We Delight in Representationp. 13
Ancient Actorsp. 14
The Grief of Polusp. 14
Tragic and Comic Masksp. 15
Rome: Actors, Slaves, and Oratorsp. 19
Emotion in the Actor and Oratorp. 21
The Pupils of Rosciusp. 25
Action and Deliveryp. 26
Of Pantomimep. 30
The Middle Ages: The Anonymous Actorp. 34
Epitaph for Mime Vitalisp. 37
Instructions for Acting in a Tropep. 38
The Representation of Adamp. 39
Acting Regulations for the York Playsp. 40
From Banns of Performance at Chesterp. 40
Italy: The Commedia Dell' Artep. 41
Dialogue on Actingp. 45
Diverse Advice to Those Who Make a Profession of Playing Improvisationsp. 50
What Is a Buffoon?p. 53
Introduction to Impromptu Actingp. 56
On the Art of Italian Comediansp. 58
Advice to Actorsp. 59
Spain: The Golden Agep. 64
The Strolling Players of Lope de Rueda by Cervantesp. 67
Of Actors and Playingp. 68
An Actor's Lifep. 69
At the Commedia by Comtesse D'Aulnoyp. 72
An Afternoon in the Theatre by Juan De Zabaletap. 73
England: The Elizabethan Actorp. 75
Thoughts on Acting from His Playsp. 79
To Edward Alleynp. 83
An Epitaph on Salathiel Pavy, a Child of Queen Elizabeth's Chapelp. 83
A Lesson from Burbage and Kempp. 84
An Apology for Actorsp. 86
An Excellent Actorp. 88
The Eloquent Actorp. 89
The Acting of Richard Burbage by Richard Flecknoep. 91
England: The Great Namesp. 92
The Qualifications of a Playerp. 97
Apology for His Lifep. 103
A Brief Supplement to Colley Cibberp. 114
Dramatic Passionsp. 117
The Art and Duty of an Actorp. 121
Understanding, Sensibility, and Firep. 123
An Essay on Actingp. 133
Letters on Actingp. 136
Two Letters to Mr. Garrickp. 138
On the Character of Lady Macbethp. 142
France: Tradition and Revoltp. 146
Three Farceursp. 153
The Impromptu at Versaillesp. 156
My Opinion of Michel Baron by Elena Riccobonip. 159
The Paradox of Actingp. 162
Reflections on Dramatic Artp. 171
A Reply to "Reflections on Dramatic Art of Clairon"p. 175
Fiction and Realityp. 177
Grandeur Without Pompp. 180
Elements of the Delsarte Systemp. 187
The Dual Personality of the Actorp. 192
The Evolution of the Actorp. 204
The New Acting of the Theatre Librep. 211
The Manifesto of the Vieux Colombierp. 217
Notes on the Actorp. 218
The Birth and Life of Charactersp. 226
Athlete of the Heartp. 235
Comedian and Actorp. 241
Pantomimep. 246
Rules of Actingp. 249
Germany: From Hamburg Dramaturgy to Epic Theatrep. 254
The Hamburg Dramaturgyp. 262
Rules for Actorsp. 269
Type and Characterp. 277
The Limits of Naturep. 279
Simplicity and Conventionp. 282
The Actor in the Ensemblep. 285
In Defense of Naturalismp. 289
The Enchanted Sense of Playp. 295
Expressionismp. 299
Objective Actingp. 301
The Alienation Effectp. 308
Letter to an Actorp. 312
Rehearsing the Partp. 315
The Actor's Resourcesp. 316
Six Partsp. 319
England and Ireland: The Heritage of Actorsp. 321
Feeling Without Rhetoricp. 328
On Edmund Kean by "Betterton"p. 329
The Audience and the Actorp. 334
Temperament and Talentp. 338
The Actor's Symbolsp. 342
The Importance of By-Playp. 354
The Three "I's"p. 360
Masks or Faces?p. 363
The Point of View of the Playwrightp. 371
The Actor and the Ueber-Marionettep. 377
The Sovereignty of Wordsp. 386
Advice from an Abbey Theatre Actorp. 388
The Heritage of the Actorp. 391
Creating my Rolesp. 398
The Stanislavsky Mythp. 403
The Art of Persuasionp. 410
The Intuitive Approachp. 418
The Act of Possessionp. 423
Notes on the Theatre of Crueltyp. 430
Italy: Stars and the Commedia Traditionp. 439
My Study of Lady Macbethp. 444
The Art of Interpretationp. 451
Impulse and Restraintp. 454
The Art of Speakingp. 460
On Actingp. 466
The Intimacy of Actor and Characterp. 471
Return to Traditionp. 473
The Soviet Union and Poland: The Moscow Art Theatre and Its Traditionp. 475
Feeling and Pretensep. 482
The Evolution of My Systemp. 485
Simplicity in Actingp. 497
A Rehearsal of The Inspector Generalp. 502
Biomechanicsp. 504
The School of Intimate Experiencep. 507
Living the Partp. 510
The Psychological Gesturep. 519
Physical Actionsp. 523
The Actor's Techniquep. 530
America: Native Players and Innovatorsp. 536
Edwin Forrest and the American Style by Walt Whitmanp. 545
Can Acting Be Taught?p. 547
Warm Heart and Cool Headp. 552
The Actor's Traditionp. 559
The Illusion of the First Time in Actingp. 564
Originalityp. 568
I Talk to Myselfp. 571
The Eloquence of Silencep. 574
Acting as a Sciencep. 577
To the Actor in the Makingp. 584
Good Dictionp. 588
The Actor as an Instrumentp. 590
Maxims of an Actorp. 593
The Quality Most Neededp. 595
The Success and Failure of a Rolep. 599
The Actor in the Group Theatrep. 602
Working Together on The Visitp. 607
Thoughts on Actingp. 610
The Quest of Techniquep. 614
The Actor and Himselfp. 623
Emotional Memoryp. 630
The Bottomless Cupp. 635
Creative Experiencep. 641
Nonmatrixed Performances - Happeningsp. 648
Messagesp. 654
The Context of Performancep. 665
Bibliographyp. 670
Indexp. 695
Table of Contents provided by Blackwell. All Rights Reserved.
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