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

Name: Actors on Acting : The Theories, Techniques, and Practices of the World's Great Actors, Told in Their Own Words
Price: 3.79 USD
Availability: InStock
ISBN: 9780517884782

ISBN-10: 051788478X

ISBN-13: 9780517884782

Edition: 4th

Authors: Toby Cole, Helen Krich Chinoy

30 day, 100% satisfaction guarantee!

Marketplace

4 new & used from $3.79

what's this?

Rush Rewards U
Members Receive:

You have reached 400 XP and carrot coins. That is the daily max!

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.

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 Dionysus	p. 3
On Inspiration	p. 6
On Imitation	p. 8
Passion, Speech, and Gesture	p. 11
Management of the Voice	p. 12
Why We Delight in Representation	p. 13
Ancient Actors	p. 14
The Grief of Polus	p. 14
Tragic and Comic Masks	p. 15
Rome: Actors, Slaves, and Orators	p. 19
Emotion in the Actor and Orator	p. 21
The Pupils of Roscius	p. 25
Action and Delivery	p. 26
Of Pantomime	p. 30
The Middle Ages: The Anonymous Actor	p. 34
Epitaph for Mime Vitalis	p. 37
Instructions for Acting in a Trope	p. 38
The Representation of Adam	p. 39
Acting Regulations for the York Plays	p. 40
From Banns of Performance at Chester	p. 40
Italy: The Commedia Dell' Arte	p. 41
Dialogue on Acting	p. 45
Diverse Advice to Those Who Make a Profession of Playing Improvisations	p. 50
What Is a Buffoon?	p. 53
Introduction to Impromptu Acting	p. 56
On the Art of Italian Comedians	p. 58
Advice to Actors	p. 59
Spain: The Golden Age	p. 64
The Strolling Players of Lope de Rueda by Cervantes	p. 67
Of Actors and Playing	p. 68
An Actor's Life	p. 69
At the Commedia by Comtesse D'Aulnoy	p. 72
An Afternoon in the Theatre by Juan De Zabaleta	p. 73
England: The Elizabethan Actor	p. 75
Thoughts on Acting from His Plays	p. 79
To Edward Alleyn	p. 83
An Epitaph on Salathiel Pavy, a Child of Queen Elizabeth's Chapel	p. 83
A Lesson from Burbage and Kemp	p. 84
An Apology for Actors	p. 86
An Excellent Actor	p. 88
The Eloquent Actor	p. 89
The Acting of Richard Burbage by Richard Flecknoe	p. 91
England: The Great Names	p. 92
The Qualifications of a Player	p. 97
Apology for His Life	p. 103
A Brief Supplement to Colley Cibber	p. 114
Dramatic Passions	p. 117
The Art and Duty of an Actor	p. 121
Understanding, Sensibility, and Fire	p. 123
An Essay on Acting	p. 133
Letters on Acting	p. 136
Two Letters to Mr. Garrick	p. 138
On the Character of Lady Macbeth	p. 142
France: Tradition and Revolt	p. 146
Three Farceurs	p. 153
The Impromptu at Versailles	p. 156
My Opinion of Michel Baron by Elena Riccoboni	p. 159
The Paradox of Acting	p. 162
Reflections on Dramatic Art	p. 171
A Reply to "Reflections on Dramatic Art of Clairon"	p. 175
Fiction and Reality	p. 177
Grandeur Without Pomp	p. 180
Elements of the Delsarte System	p. 187
The Dual Personality of the Actor	p. 192
The Evolution of the Actor	p. 204
The New Acting of the Theatre Libre	p. 211
The Manifesto of the Vieux Colombier	p. 217
Notes on the Actor	p. 218
The Birth and Life of Characters	p. 226
Athlete of the Heart	p. 235
Comedian and Actor	p. 241
Pantomime	p. 246
Rules of Acting	p. 249
Germany: From Hamburg Dramaturgy to Epic Theatre	p. 254
The Hamburg Dramaturgy	p. 262
Rules for Actors	p. 269
Type and Character	p. 277
The Limits of Nature	p. 279
Simplicity and Convention	p. 282
The Actor in the Ensemble	p. 285
In Defense of Naturalism	p. 289
The Enchanted Sense of Play	p. 295
Expressionism	p. 299
Objective Acting	p. 301
The Alienation Effect	p. 308
Letter to an Actor	p. 312
Rehearsing the Part	p. 315
The Actor's Resources	p. 316
Six Parts	p. 319
England and Ireland: The Heritage of Actors	p. 321
Feeling Without Rhetoric	p. 328
On Edmund Kean by "Betterton"	p. 329
The Audience and the Actor	p. 334
Temperament and Talent	p. 338
The Actor's Symbols	p. 342
The Importance of By-Play	p. 354
The Three "I's"	p. 360
Masks or Faces?	p. 363
The Point of View of the Playwright	p. 371
The Actor and the Ueber-Marionette	p. 377
The Sovereignty of Words	p. 386
Advice from an Abbey Theatre Actor	p. 388
The Heritage of the Actor	p. 391
Creating my Roles	p. 398
The Stanislavsky Myth	p. 403
The Art of Persuasion	p. 410
The Intuitive Approach	p. 418
The Act of Possession	p. 423
Notes on the Theatre of Cruelty	p. 430
Italy: Stars and the Commedia Tradition	p. 439
My Study of Lady Macbeth	p. 444
The Art of Interpretation	p. 451
Impulse and Restraint	p. 454
The Art of Speaking	p. 460
On Acting	p. 466
The Intimacy of Actor and Character	p. 471
Return to Tradition	p. 473
The Soviet Union and Poland: The Moscow Art Theatre and Its Tradition	p. 475
Feeling and Pretense	p. 482
The Evolution of My System	p. 485
Simplicity in Acting	p. 497
A Rehearsal of The Inspector General	p. 502
Biomechanics	p. 504
The School of Intimate Experience	p. 507
Living the Part	p. 510
The Psychological Gesture	p. 519
Physical Actions	p. 523
The Actor's Technique	p. 530
America: Native Players and Innovators	p. 536
Edwin Forrest and the American Style by Walt Whitman	p. 545
Can Acting Be Taught?	p. 547
Warm Heart and Cool Head	p. 552
The Actor's Tradition	p. 559
The Illusion of the First Time in Acting	p. 564
Originality	p. 568
I Talk to Myself	p. 571
The Eloquence of Silence	p. 574
Acting as a Science	p. 577
To the Actor in the Making	p. 584
Good Diction	p. 588
The Actor as an Instrument	p. 590
Maxims of an Actor	p. 593
The Quality Most Needed	p. 595
The Success and Failure of a Role	p. 599
The Actor in the Group Theatre	p. 602
Working Together on The Visit	p. 607
Thoughts on Acting	p. 610
The Quest of Technique	p. 614
The Actor and Himself	p. 623
Emotional Memory	p. 630
The Bottomless Cup	p. 635
Creative Experience	p. 641
Nonmatrixed Performances - Happenings	p. 648
Messages	p. 654
The Context of Performance	p. 665
Bibliography	p. 670
Index	p. 695
Table of Contents provided by Blackwell. All Rights Reserved.