Overview

In the late twenties, actors and directors of the Group Theatre, who were pioneering the use of Stanislavski's teachings, saw the value of teaching ballet and the emerging modern dance. Actors now routinely learn dance, but dancers rarely study acting. In The Six Questions, Nagrin maintains that a command of acting techniques allows the dancer to couple the passion of a body in motion with the heart and mind of the dancer.In five parts, the book first examines the personal essentials demanded by dance. The second part looks at the pitfalls inherent in the act of performing from vanity to self-hatred. The third part, the core of the book, poses six questions: Who? is doing what? to whom? where and when? and why? and against what obstacle? In the fourth part, Nagrin looks at the tools for working on the role, and the fifth part enters into the very act of performing. All of the work is handled in terms of movement alone: no dialogue or scenes from plays are used.The Six Questions is a companion piece to Nagrin's other works, How To Dance Forever, and Dance and the Specific Image: Improvisation. Together they present an invaluable teaching and learning tool for anyone in love with dance. In Daniel Nagrin's The Six Questions: Acting Technique for Dance Performance, we are offered illuminating, well-researched and generously human information out of which great performers are made. Bravo Daniel! Bill T. Jones, Arnie Zane/Bill T. Jones Dance Company No one that I know of is writing and presenting this information for the field. His style and thought not only give you ideas and encouragement, they challenge you to experiment and explore for yourself. This is a compilation of lifeand work experiences from one of our great men of the theater . Carla Maxwell, Jose Limon Dance Foundation What a piece of work! Ir is a wonderful book full of valuable, important information for use by teachers and/or dancers. It fires my imagination for teaching . Meriam Rosen, University of Maryland, College Park The Six Questions should be read by anyone interested in how one achieves affective power in dance performance . William Akins, Arizona State University

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