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Actor Training expands on Alison Hodge's highly-acclaimed and best-selling Twentieth Century Actor Training . This exciting second edition radically updates the original book, making it even more valuable for any student of the history and practice of actor training. The original chapters and bibliography are brought right up to date, along with the addition of seven more practitioners - and forty photographs - to create a stunningly comprehensive study.The practitioners included are: Stella Adler, Eugenio Barba, Augusto Boal, Anne Bogart, Bertolt Brecht, Peter Brook, Michael Chekhov, Joseph Chaikin, Jacques Copeau, Philippe Gaulier, Jerzy Grotowski, Maria Knebel, Jacques Lecoq, Joan Littlewood, Sanford Meisner, Vsevolod Meyerhold, Ariane Mnouchkine, Monika Pagneux, Michel Saint-Denis, Wlodzimierz Staniewski, Konstantin Stanislavsky and Lee StrasbergEach chapter is written by a leading expert on a key theatre practitioner or movement, and is accessible for readers approaching the work for the first time. Each writer clearly sets out the historical, cultural and political context to the practitioners' work. This is followed by an incisive and enlightening analysis of the practitioner's main principles of training, practical exercises and key productions.This book presents readers with an invaluable introduction to the principles and practice of actor training and its role in shaping modern theatre.Actor Training is accompanied by a richly informative website which supplements the book with an interactive glossary and timeline, and an expansive archive of texts, articles, videos and podcasts.
Alison Hodge has been a professional director since 1982. She was assistant director for Gardzienice Theatre and co-authored, with Wlstroke;odzimierz Staniewski, Hidden Territories: the Theatre of Gardzienice (Routledge, 2004). She is director of The Quick and the Dead, an international theatre research company, and a Reader in Theatre Practice at Royal Holloway College, University of London, UK. Her website can be found at www.alisonhodge.net
Table of Contents
|List of illustrations||p. ix|
|Notes on contributors||p. xii|
|Stanislavsky's System: Pathways for the Actor||p. 1|
|Meyerhold and Biomechanics||p. 26|
|Jacques Copeau: The Quest for Sincerity||p. 43|
|Michael Chekhov on the Technique Of Acting: 'was Don Quixote True to Life?'||p. 63|
|Michel Saint-Denis: Training the Complete Actor||p. 81|
|The Knebel Technique: Active Analysis in Practice||p. 99|
|Brecht and Actor Training: On Whose Behalf Do We Act?||p. 117|
|Joan Littlewood||p. 130|
|Strasberg, Adler and Meisner: Method Acting||p. 144|
|Joseph Chaikin and Aspects of Actor Training: Possibilities Rendered Present||p. 164|
|Peter Brook: Transparency and the Invisible Network||p. 184|
|Grotowski's Vision of the Actor: The Search for Contact||p. 199|
|Jacques Lecoq, Monika Pagneux and Philippe Gaulier: Training for Play, Lightness and Disobedience||p. 215|
|Training with Eugenio Barba: Acting Principles, The Pre-Expressive and 'Personal Temperature'||p. 237|
|Ariane Mnouchkine and the Théâtre Du Soleil: Theatricalising History; The Theatre as Metaphor; the Actor as Signifier||p. 250|
|W&lstroke;odzimierz Staniewski: Gardzienice and the Naturalised Actor||p. 268|
|Anne Bogart and Siti Company: Creating the Moment||p. 288|
|Augusto Boal and the Theatre of the Oppressed||p. 305|
|Table of Contents provided by Ingram. All Rights Reserved.|