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An account of her own struggle with the techniques of acting -- based on her teachings.
Respect for Acting "This fascinating and detailed book about acting is Miss Hagen's credo, the accumulated wisdom of her years spent in intimate communion with her art. It is at once the voicing of her exacting standards for herself and those she [taught], and an explanation of the means to the end." --Publishers Weekly "Hagen adds to the large corpus of titles on acting with vivid dicta drawn from experience, skill, and a sense of personal and professional worth. Her principal asset in this treatment is her truly significant imagination. Her 'object exercises' display a wealth of detail with which to stimulate the student preparing a scene for presentation." --Library Journal "Uta Hagen's Respect for Acting . . . is a relatively small book. But within it, Miss Hagen tells the young actor about as much as can be conveyed in print of his craft." --Los Angeles Times "There are almost no American actors uninfluenced by Uta Hagen." --Fritz Weaver "This is a textbook for aspiring actors, but working thespians can profit much by it. Anyone with just a casual interest in the theater should also enjoy its behind-the-scenes flavor." --King Features Syndicate
Theoretically, the actor ought to be more sound in mind and body than other people, since he learns to understand the psychological problems of human beings when putting his own passions, his loves, fears, and rages to work in the service of the characters he plays. He will learn to face himself, to hide nothing from himself -- and to do so takes an insatiable curiosity about the human condition. from the Prologue Uta Hagen, one of the world's most renowned stage actresses, has also taught acting for more than forty years at the HB Studio in New York. Her first book, Respect for Acting, published in 1973, is still in print and has sold more than 150,000 copies. In her new book, A Challenge for the Actor, she greatly expands her thinking about acting in a work that brings the full flowering of her artistry, both as an actor and as a teacher. She raises the issue of the actor's goals and examines the specifics of the actor's techniques. She goes on to consider the actor's relationship to the physical and psychological senses. There is a brilliantly conceived section on the animation of the body and mind, of listening and talking, and the concept of expectation. But perhaps the most useful sections in this book are the exercises that Uta Hagen has created and elaborated to help the actor learn his craft. The exercises deal with developing the actor's physical destination in a role; making changes in the self serviceable in the creation of a character; recreating physical sensations; bringing the outdoors on stage; finding occupation while waiting; talking to oneself and the audience; and employing historical imagination. The scope and range of Uta Hagen here is extraordinary. Her years of acting and teaching have made her as finely seasoned an artist as the theatre has produced.
“I call this book The Intent to Live because great actors don’t seem to be acting, they seem to be actually living.” –Larry Moss, from the Introduction When Oscar-winning actors Helen Hunt and Hilary Swank accepted their Academy Awards, each credited Larry Moss’s guidance as key to their career-making performances. There is a two-year waiting list for his advanced acting classes. But now everyone–professionals and amateurs alike–can discover Moss’s passionate, in-depth teaching. Inviting you to join him in the classroom and onstage, Moss shares the techniques he has developed over thirty years to help actors set their emotions, imagination, and behavior on fire, showing how the hard work of preparation pays off in performances that are spontaneous, fresh, and authentic. From the foundations of script analysis to the nuances of physicalization and sensory work, here are the case studies, exercises, and insights that enable you to connect personally with a script, develop your character from the inside out, overcome fear and inhibition, and master the technical skills required for success in the theater, television, and movies. Far more than a handbook, The Intent to Live is the personal credo of a master teacher. Moss’s respect for actors and love of the actor’s craft enliven every page, together with examples from a wealth of plays and films, both current and classic, and vivid appreciations of great performances. Whether you act for a living or simply want a deeper understanding of acting greatness, The Intent to Live will move, instruct, and inspire you.
This remarkably illuminating portrait of Tennessee Williams lifts the veil on the heart and soul of his artistic inspiration: the unspoken collaboration between playwright and actor. At a low moment in Williams’s life, he summoned to New Orleans a young twenty-year-old writer, James Grissom, who had written him a letter asking for advice. After a long, intense conversation, Williams sent Grissom on a journey on his behalf to find out if he or his work had mattered to those who had so deeply mattered to him. Among the more than seventy women and men with whom Grissom talked were giants of American theater and film: Lillian Gish, (“the escort who brought me to Blanche”), Jessica Tandy (the original Blanche DuBois on Broadway), Eva Le Gallienne (“She was a stone against which I could rub my talent and feel that it became sharper”), Maureen Stapleton, Julie Harris, Bette Davis, Katherine Hepburn, Elia Kazan, Marlon Brando, John Gielgud, and many more. Follies of God provides dazzling insight into how Williams conjured the dramatic characters and plays that so transformed American theater.
A vital companion for actors in rehearsal - a thesaurus of action-words to revitalise performance, with a foreword by Terry Johnson. Finding the right action is an essential part of the process of preparation for the actor. Using this thesaurus of active verbs, the actor can refine the action-word until s/he hits exactly the right one to help make the action come alive. The method of 'actioning' is widely used in rehearsal rooms, but has never before been set down in a systematic and comprehensive way. 'If you want to act, or act better, Actions will take you a long way on the journey to excellence' Terry Johnson
(Applause Books). A master actor who's appeared in an enormous number of films, starring with everyone from Nicholson to Kermit the Frog, Michael Caine is uniquely qualified to provide his view of making movies. This revised and expanded edition features great photos, with chapters on: Preparation, In Front of the Camera Before You Shoot, The Take, Characters, Directors, On Being a Star, and much more. "Remarkable material ... A treasure ... I'm not going to be looking at performances quite the same way ... FASCINATING!" Gene Siskel
A disciple of Konstantin Stanislavski and a member of the Group Theatre in the 1930s, the noted actress and teacher offers advice on acting preparations, the demands of characterization, and dramatic exercises, as well as personal memories
Practiced by such actors of stature as Marlon Brando, Robert De Niro, Julie Harris, Dustin Hoffman, and Ellen Burstyn (not to mention the late James Dean) the Method offers a practical application of the renowned Stanislavsky technique. On Method Acting demystifies the "mysteries" of Method acting -- breaking down the various steps into clear and simple terms, including chapters on: Sense Memory -- the most vital component of Method acting Improvisation -- without it, the most integral part of the Method is lost Animal Exercises -- just one way to combat the mental blocks that prevent actors from grasping a character Creating The Outer Character -- so actors can give the freshness of originality to a role while at the same time living the life of the character On Method Acting is also an indispensable volume for directors, designers, lighting technicians, and anyone in the dramatic arts interested in creating a believable and realistic effect in their productions.