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9780415693950

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This is an incredible book. A wonderful comprehensive examination of the subject and powerful exercises to work the acting theory. * Robert Yowell, Northern Arizona University, USA The book offers an extensive collection of Stanislavskian techniques, extending them in a way that is accessible to the classroom. It makes convincingly the case that Stanislavskian techniques still have relevance to the training of contemporary actors. * Konstantinos Thomaidis, University of Portsmouth, UK A wonderful compilation of historical perspective and creative explorations. Expertly defines and explains Stanislavsky's approach and impact on actor training. * Shawn J. Clerkin, Gannon University, USA Fantastic discussion of body, voice, mind, and spirit as they pertain to acting technique. * Leah Roy, Wake Forest University, USA Provides a deep and respectful understanding of the basic principles and working methods of Stanislavsky. * Kirsten Due Kjeldsen, VIA University College, Denmark

An excellent acting textbook for any instructor aiming to provide a thorough overview of the System. Its wealth of references to other performance practices as well as its solid foundation in the latest scientific research offers an excellent blend of traditional and contemporary acting theory and practice. * Theatre Library Association This is an incredible book. A wonderful comprehensive examination of the subject and powerful exercises to work the acting theory. * Robert Yowell, Northern Arizona University, USA The book offers an extensive collection of Stanislavskian techniques, extending them in a way that is accessible to the classroom. It makes convincingly the case that Stanislavskian techniques still have relevance to the training of contemporary actors. * Konstantinos Thomaidis, University of Portsmouth, UK A wonderful compilation of historical perspective and creative explorations. Expertly defines and explains Stanislavsky's approach and impact on actor training. * Shawn J. Clerkin, Gannon University, USA Fantastic discussion of body, voice, mind, and spirit as they pertain to acting technique. * Leah Roy, Wake Forest University, USA Provides a deep and respectful understanding of the basic principles and working methods of Stanislavsky. * Kirsten Due Kjeldsen, VIA University College, Denmark

An excellent acting textbook for any instructor aiming to provide a thorough overview of the System. Its wealth of references to other performance practices as well as its solid foundation in the latest scientific research offers an excellent blend of traditional and contemporary acting theory and practice. Theatre Library Association This is an incredible book. A wonderful comprehensive examination of the subject and powerful exercises to work the acting theory. Robert Yowell, Northern Arizona University, USA The book offers an extensive collection of Stanislavskian techniques, extending them in a way that is accessible to the classroom. It makes convincingly the case that Stanislavskian techniques still have relevance to the training of contemporary actors. Konstantinos Thomaidis, University of Portsmouth, UK A wonderful compilation of historical perspective and creative explorations. Expertly defines and explains Stanislavsky's approach and impact on actor training. Shawn J. Clerkin, Gannon University, USA Fantastic discussion of body, voice, mind, and spirit as they pertain to acting technique. Leah Roy, Wake Forest University, USA Provides a deep and respectful understanding of the basic principles and working methods of Stanislavsky. Kirsten Due Kjeldsen, VIA University College, Denmark

Author Information

Stephanie Daventry French has directed over 40 productions using Stanislavsky's Active Analysis. She teaches the Stanislavsky System integrated with many other techniques as head of the Acting for Theatre, Television and Film track at East Stroudsburg University. Philip G. Bennett has been an actor, teacher and director of the Stanislavsky System since 1969 - Artistic Director of the San Francisco Theatre Academy 1976-1984, the Bennett TheatreLab & Conservatory 1984-present, and Assistant Artistic Director to Russian emegré teacher, Sonia Moore, American Stanislavski Theatre, 1969 – 1975.

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