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A Challenge For The Actor
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eBay-Artikelnr.:157471867935
Artikelmerkmale
- Artikelzustand
- ISBN
- 9780684190402
Über dieses Produkt
Product Identifiers
Publisher
Scribner
ISBN-10
0684190400
ISBN-13
9780684190402
eBay Product ID (ePID)
287548
Product Key Features
Book Title
Challenge for the Actor
Number of Pages
336 Pages
Language
English
Publication Year
1991
Topic
Reference, Theater / Direction & Production, Acting & Auditioning
Genre
Performing Arts
Format
Hardcover
Dimensions
Item Height
1.1 in
Item Weight
17.6 Oz
Item Length
9.2 in
Item Width
6.1 in
Additional Product Features
Intended Audience
Trade
LCCN
91-015782
Reviews
Brooks AtkinsonUta Hagen'sRespect for Actingis not only pitched on a high artistic level but also full of homely, practical information by a superb craftswoman. An illuminating discussion of the standards and techniques of enlightened stage acting., Library Journal 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 JournalHagen 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., Harold Clurman Respect for Acting is a simple, lucid, and sympathetic statement of actors problems in the theatre and basic tenets for their training wrought from the personal experience of a fine actress and teacher of acting., Publishers WeeklyThis 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 teaches, and an explanation of the means to the end. For those unable to avail themselves of her personal tutelage, her book is the best substitute., Fritz WeaverUta Hagen is our greatest living actor; she is, moreover, interested and mystified by the presence of talent and its workings; her third gift is a passion to communicate the mysteries of the craft to which she has given her life. There are almost no American actors uninfluenced by her., Fritz Weaver Uta Hagen is our greatest living actor; she is, moreover, interested and mystified by the presence of talent and its workings; her third gift is a passion to communicate the mysteries of the craft to which she has given her life. There are almost no American actors uninfluenced by her., Brooks AtkinsonUta Hagen's Respect for Acting is not only pitched on a high artistic level but also full of homely, practical information by a superb craftswoman. An illuminating discussion of the standards and techniques of enlightened stage acting., Brooks Atkinson Uta Hagen's Respect for Acting is not only pitched on a high artistic level but also full of homely, practical information by a superb craftswoman. An illuminating discussion of the standards and techniques of enlightened stage acting., Publishers Weekly 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 teaches, and an explanation of the means to the end. For those unable to avail themselves of her personal tutelage, her book is the best substitute.
Dewey Edition
20
Dewey Decimal
792/.028
Table Of Content
CONTENTS Acknowledgments, an Apology, and a Little Advice Prologue: What Does It Take? Part One: The Actor 1. The Actor's World 2. The Actor's Goals 3. The Actor's Techniques The Outer Techniques The Human Techniques Part Two: The Human Techniques 4. The Self 5. Transference 6. The Physical Senses 7. The Psychological Senses 8. Animation The Body The Mind Inner Objects Listening Talking 9. Expectation Part Three' The Exercises 10. The Exercises General Purpose The Six Steps For the Presentation 11. The First Exercise: Physical Destination For The Presentation 12. The second Exercise: The Fourth Side Communication Primary Use of the Fourth Side Subliminal Use of the Fourth Side For the Presentation 13. The Third Exercise: changes of self Part I For the Presentation Part II For The Presentation 14. The Fourth Exercise: Moment to Moment For the Presentation 15. The Fifth Exercise: Re-Creating Physical Sensations Part I For the Presentation Part II For the Presentation 16. The Sixth Exercise: Bringing the Outdoors On Stage For the Presentation 17. The Seventh Exercise: Finding Occupation While Waiting For the Presentation 18. The Eighth Exercise: Talking to Yourself For the Presentation 19. The Ninth Exercise: Talking to the Audience For the Presentation 20. The Tenth Exercise: Historical Imagination Style Historical Imagination For the Presentation 21. Combinations Part Four: The Role 22. The Play 23. Homework and the rehearsal The Rehearsal 24. Scoring the Role 1. Who Am "I"? 2. What Are "My" Circumstances? 3. What Are "My" Relationships? 4. What Do "I" Want? 5. What's in "My" Way? 6. What Do 'I' Do to Get What "I" Want? Epilogue For the Teacher Index
Synopsis
"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. " Uta Hagen, one of the world's most renowned stage actresses, 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 second 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., 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., 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 takesan insatiable curiosity about the human condition.from the PrologueUta 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.
LC Classification Number
PN2061.H27 1991
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- 14. Mär. 2017
Love it
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- 20. Dez. 2018
A Challenge for tge actor is a timeless classic by one of the greatest actresses and teachers ever.
Bestätigter Kauf: JaZustand: GebrauchtVerkauft von: thrift.books
- 19. Aug. 2019
A must read for creatives
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- l***e (720)- Bewertung vom Käufer.Letzte 6 MonateBestätigter KaufBook in New condition as described, wich is surprising as it is a paperback mailed in a flimsy bag. But fair price and very fast shipping. Thank you.The Pentagon Papers: The Secret History of the Vietnam War (Nr. 157128209949)
- o***s (1472)- Bewertung vom Käufer.Letzte 6 MonateBestätigter KaufItem as described, safe packing, quick shipping. Book was a great find and good value. Recommended seller, would purchase from again - thanks A+!!Erica Wilson's Needlepoint: Adapted from Objects in the Collections at the Met.. (Nr. 157186643110)
- h***h (4237)- Bewertung vom Käufer.Letzte 6 MonateBestätigter KaufItem arrived as advertised. Excellent packaging. Timely shipping and great value!… A+++ Seller!Four Reigns (Nr. 156969168821)