Full Product Details
Author: Constantin Stanislavski ,
Elizabeth Reynolds Hapgood
Publisher: Taylor & Francis Inc
Imprint: Routledge
Dimensions:
Width: 13.80cm
, Height: 2.50cm
, Length: 21.60cm
Weight: 0.498kg
ISBN: 9780878300129
ISBN 10: 0878300120
Pages: 352
Publication Date: 07 January 1987
Audience:
Professional and scholarly
,
College/higher education
,
Professional & Vocational
,
Tertiary & Higher Education
Format: Hardback
Publisher's Status: Active
Availability: In Print
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Reviews
Indispensable for the actor, stimulating for the layman. - The Nation Anyone who attempts to train actors or to direct plays will find here a great mine of practical wisdom, all informed by Stanislavski's grasp of the art itself. -Francis Fergusson, Educational Theatre Journal In (this book) Stanislavski, assuming the reader's familiarity with the 'inner technique', proceeds to study costume and the wearing of costume, bodily movement, voice, speech and the use of language, and tempo and rhythm-- the more external but essential techniques whereby the actor learns to use his physical instrument . . . and he expounds them as only a master can; i.e., with the insight and authority of talent plus expeirence. Anyone who attempts to train actors or to direct plays will find here a great mine of practical wisdom. -Francis Fergusson, Education Theatre Journal The chapter on Diction and Singing offers an analysis of basic problems of singing that is unrivaled. - Musical America
Indispensable for the actor, stimulating for the layman. <br>- The Nation <br> Anyone who attempts to train actors or to direct plays will find here a great mine of practical wisdom, all informed by Stanislavski's grasp of the art itself. <br>-Francis Fergusson, Educational Theatre Journal <br> In (this book) Stanislavski, assuming the reader's familiarity with the 'inner technique', proceeds to study costume and the wearing of costume, bodily movement, voice, speech and the use of language, and tempo and rhythm-- the more external but essential techniques whereby the actor learns to use his physical instrument . . . and he expounds them as only a master can; i.e., with the insight and authority of talent plus expeirence. Anyone who attempts to train actors or to direct plays will find here a great mine of practical wisdom. <br>-Francis Fergusson, Education Theatre Journal <br> The chapter on Diction and Singing offers an analysis of basic problems of singing that is unrivaled. <br>- Musical America <br>
Indispensable for the actor, stimulating for the layman. -- The Nation Anyone who attempts to train actors or to direct plays will find here a great mine of practical wisdom, all informed by Stanislavski's grasp of the art itself. -- Francis Fergusson, Educational Theatre Journal In (this book) Stanislavski, assuming the reader's familiarity with the 'inner technique', proceeds to study costume and the wearing of costume, bodily movement, voice, speech and the use of language, and tempo and rhythm-- the more external but essential techniques whereby the actor learns to use his physical instrument . . . and he expounds them as only a master can; i.e., with the insight and authority of talent plus expeirence. Anyone who attempts to train actors or to direct plays will find here a great mine of practical wisdom. -- Francis Fergusson, Education Theatre Journal The chapter on Diction and Singing offers an analysis of basic problems of singing that is unrivaled. -- Musical America
Author Information
Constantin Stanislavski (1863-1938), arguably the most influential director in the history of the theater, was the founder of the renowned Moscow Art Theater. A pioneer of psychological realism and improvisation on the stage, he devoted his life to developing the performance techniques now emulated throughout the world.
