Michael Chekhov by Franc Chamberlain; Routledge, 2003
from part 2:
WRITINGS ON THE TECHNIQUE OF ACTING 35
Introduction 35
Imagination and concentration 37
The higher ego 48
Objective atmosphere and individual feelings 52
The actor's body
The psychological gesture 73
Incorporation and characterization 77
Conclusion 80
....
4 PRACTICAL EXERCISES 113
Introduction 113
Crossing the threshold 116
Making contact 117
Confidence 118
Concentration 120
Significance 121
The four brothers 121
Atmosphere 127
Actions and qualities 129
Archetypal gestures 133
Imagination 136
Centres 137
Archetypes 138
Imaginary bodies 139
Objectives and the psychological gesture 140
Ensemble and group sculptures 142
Rehearsal 143
Secrets of Screen Acting by John Stamp, Patrick Tucker; Routledge, 2003 - Introduction
- Chapter 1: Screen Versus Stage
- Chapter 2: Film Versus Television
- Chapter 3: The Frame
- Chapter 4: The Camera
- Chapter 5: Reactions and Business
- Chapter 6: Sound and Vocal Levels
- Chapter 7: Typecasting
- Chapter 8: Acting
- Chapter 9: Auditions
- Chapter 10: Rehearsals and Technicals
- Chapter 11: Directing Actors for the Screen
- Chapter 12: Announcers (And the Art of Being Interviewed)
- Chapter 13: The Shoot
- Chapter 14: The Editor and Editing
- Epilogue
- Acting Exercises
...
2009
sellassie.info [books]
{ biblio }
"Even if you're on the right track, you'll get run over if you just sit there" ~ Will Rogers
Fall 2003 -- Spring 2004 (textbook): Five Approaches to Acting, David Kaplan
[ reading ]
Acting in Person and in Style 2003 amazon 0697201333
AoA Actors on Acting, textbook (for Intermediate Acting)
Aristotle
The Commedia Dell' Arte
Shakespeare
Antonin Artaud 235
Goethe 267
Erwin Piscator 301
Bertold Brecht 307
Gorden Crag 377
Peter Brook 423
Stanislavsky 484
Igor Illinsky 504
Richard Boleslavsky 509
Michael Chekhov 518
Jerzy Grotowski
Lee Strasberg 621
Viola Spolin 641
Joseph Chaikin 654
The pages are from my old ed. and I will sort out the order of
reading on webpages.
I have difficult time making up my mind on selection, because the book
is full of wonderful texts. I want to say -- read it all (but the
above is required).
Actors on Acting : The Theories, Techniques, and Practices of the Great Actors of All Times as Told in Their Own Words / Edited with introductions and biographical notes by Toby Cole and Helen Krich Chinoy.
"I use "Actors on Acting" in Acting II (Intermediate). The problem: the students should have Theatre History or (at least) Intro to Theatre. Pluses: They read the originals (but you have to lecture them, to link the history and theory with the applications). In directing class I use "Directors on Directing" (same problems, including the book price climbing every year on copyright free texts)."
Acting: In Person and in Style / by Jerry L. Crawford.
Acting with Style / John Harrop, Sabin R. Epstein.
Advanced Acting: Style, Character, and Performance / by Robert Cohen.
The End of Acting: A Radical View / by Richard Hornby.
"I use The End of Acting by Richard Hornby. It is decidedly biased (he thinks method acting has been detrimental to actor training in the United States), but it is a great text to use with upper level undergraduates on the history of acting and the problems circulating around acting as a distinct and unique art form."
The Length and Depth of Acting / by Edwin Duerr.
The Player's Passion: Studies in the Science of Acting / by Joseph Roach. "It is an exploration of the history of acting, rather than an
acting lesson book."
Style for Actors by Robert Barton
Sara J. MacDonald, Public Services Librarian The University of the Arts - University Libraries 320 S. Broad St., Philadelphia PA 19102 USA Voice: 215-717-6282 Fax: 215-717-6287 SMACDONALD@UARTS.EDU http://library.uarts.edu
*
*
*
The Chekhov Theatre: A Century of the Plays in Performance * Laurence Senelick £19.95 April 2000 | Paperback (Hardback) | 458 pages 51 half-tones | ISBN: 052178395X
Sharon Carnicke's Stanislavsky in Focus
Actors on Acting : The Theories, Techniques, and Practices of the Great Actors of All Times as Told in Their Own Words / Edited with introductions and biographical notes by Toby Cole and Helen Krich Chinoy.
"I use "Actors on Acting" in Acting II (Intermediate). The problem: the students should have Theatre History or (at least) Intro to Theatre. Pluses: They read the originals (but you have to lecture them, to link the history and theory with the applications). In directing class I use "Directors on Directing" (same problems, including the book price climbing every year on copyright free texts)."
Acting: In Person and in Style / by Jerry L. Crawford.
Acting with Style / John Harrop, Sabin R. Epstein.
Advanced Acting: Style, Character, and Performance / by Robert Cohen.
The End of Acting: A Radical View / by Richard Hornby.
"I use The End of Acting by Richard Hornby. It is decidedly biased (he thinks method acting has been detrimental to actor training in the United States), but it is a great text to use with upper level undergraduates on the history of acting and the problems circulating around acting as a distinct and unique art form."
The Length and Depth of Acting / by Edwin Duerr.
The Player's Passion: Studies in the Science of Acting / by Joseph Roach.
"It is an exploration of the history of acting, rather than an
acting lesson book."
Style for Actors / by Robert Barton
Chakin's Presence of the Actor
The Actor and the Target 1559362197
Declan Donnellan is the first Director of the Royal Shakespeare Academy and is best known for his work with Check By Jowl, including As You Like It, and the recent production of Homebody/Kabul in New York. As Associate Director of the National Theatre his pro-ductions included Fuente Ovejuna, Sweeney Todd, and Angels in America. Abroad, his work abroad includes Le Cid for the Avignon Festival, The Winter_s Tale for the Maly Theatre in St. Petersbourg and Puskin_s Boris Godunuv for the Moscow Theatre confederation. He has received awards in London, Paris, New York, and Moscow.
To the Actor: On the Technique of Acting by Michael Chekhov, Nicolai Remisoff; Harper & Row, 1953 - Chapter 1: The Actor's Body and Psychology
- Chapter 2: Imagination and Incorporation of Images
- Chapter 3: Improvisation and Ensemble
- Chapter 4: The Atmosphere and Individual Feelings
- Chapter 5: The Psychological Gesture
- Chapter 6: Character and Characterization
- Chapter 7: Creative Individuality
- Chapter 8: Composition of the Performance
- Chapter 9: Different Types of Performances
- Chapter 10 How to Approach the Part
The Actor's Ways and Means by Michael Redgrave; W. Heinemann, 1953 - I Cause and Effect
- Ii Instinct and Method--I
- Iii Instinct and Method--Ii
- Iv the Theatre and the Word
The Technique of Acting by F. Cowles Strickland; McGraw-Hill, 1956 - Chapter 1: The Nature of Technique
- Chapter 2: A Beginning Exercise
- Chapter 3: The Entrance
- Chapter 4: Phrasing Actions in Relation to Thoughts
- Chapter 5: Progressions
- Chapter 6: The Use of Techniques to Build a Climax
- Chapter 7: Timing
- Chapter 8: The Size of a Performance
- Chapter 9: Pointing
- Chapter 10: The Invention of Actions
- Chapter 11: Timing, Rhythm, Tempo, and Pace
- Chapter 12: Style
- Chapter 13: The Design of a Role
Improvisation for the Theater: A Handbook of Teaching and Directing Techniques by Viola Spolin; Northwestern University Press, 1963 - Theory and Foundation
- I. Creative Experience
- Ii. Workshop Procedures
- Exercises: The Workshop Sessions in This Section Can Be Used in Progressive Sequence.
- Iii. Orientation
- Iv. Where
- V. Acting with the Whole Body
- Vi. Non-Directional Blocking
- Vii. Refining Awareness
- Viii. Speech, Broadcasting, And Technical Effects
- Ix. Developing Material for Situations
- X. Rounding-Out Exercises
- Xi. Emotion
- Xii. Character
- Children and the Theater
- Xiii. Understanding the Child
- Xiv. Fundamentals for the Child Actor
- Xv. Workshop for Six-To-Eight-Year-Olds
- Formal Theater And Improvisational Theater
- Xvi. Preparation
- Xvii. Rehearsal and Performance
- Xviii. Post-Mortem and Special Problems
