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Analysis through Action for Actors and Directors: From Stanislavsky to Contemporary Performance [Pehme köide]

  • Formaat: Paperback / softback, 316 pages, kõrgus x laius: 234x156 mm, kaal: 610 g, 4 Tables, black and white; 7 Line drawings, black and white; 1 Halftones, black and white; 8 Illustrations, black and white
  • Ilmumisaeg: 03-Jun-2024
  • Kirjastus: Routledge
  • ISBN-10: 1138782130
  • ISBN-13: 9781138782136
Teised raamatud teemal:
Analysis through Action for Actors and Directors: From Stanislavsky to Contemporary PerformanceSuurem pilt
  • Formaat: Paperback / softback, 316 pages, kõrgus x laius: 234x156 mm, kaal: 610 g, 4 Tables, black and white; 7 Line drawings, black and white; 1 Halftones, black and white; 8 Illustrations, black and white
  • Ilmumisaeg: 03-Jun-2024
  • Kirjastus: Routledge
  • ISBN-10: 1138782130
  • ISBN-13: 9781138782136
Teised raamatud teemal:
Raamatu kodulehekülg: http://www.routledge.com
Püsilink: https://www.kriso.ee/db/9781138782136.html
Märksõnad:
Analysis through Action for Actors and Directors is a comprehensive view of an innovative and exciting process for making new theatre.

As well as an understanding of how Analysis through Action has developed over time, this book also demonstrates how it can be put into practice in todays theatre. The first part of this book traces the exciting genealogy from Stanislavskys unfinished experiments, through the insights of geniuses Maria Knebel and Georgii Tovstonogov, down to todays avant-garde auteurs. The second part is a practical manual based on extensive field testing by the author and colleagues. Here, two key components of the process are elucidated: Text Actions ten interwoven text analysis steps to be twinned with the thrilling rehearsal process using focused and joyful improvisations called Études.

Written for new or experienced theatre students and practitioners, this book will enrich the technique of any theatre artist and anyone else interested in the theatre and its future.

Arvustused

"In his compelling, informative, and eminently readable new book, David Chambers wishes to play his part in explaining and popularizing this revelatory form of practice, unlocking its principles for new generations of students and practitioners. [ ...] Overall, Chambers book is an important addition to the growing literature on Active Analysis. It is an outstanding resource for lecturers, conservatoire-level teachers, and professional practitioners, and could support the learning of advanced undergraduates who were exploring these techniques through practical instruction. For Stanislavskians who find themselves Analysis-through-Action-curious, it is a rousing, challenging, and thought-provoking read, and, whether or not one finishes the book a convert, it may well inspire a profound examination of what ones practice has been in the past and what it could be in the future."

Benjamin Askew, Leeds Conservatoire, UK in Stanislavski Studies (Vol. 13, 1)

Part 1: A Genealogy of Analysis through Action
1. An Anatomy of
Stanislavskys System
2. The Opera-Dramatic Studio
3. Maria Knebel: Toward
Analysis Through Action
4. Georgii Tovstonogov: A Voluntary Dictatorship
5.
The Legacy Of Analysis Through Action: Part I
6. Anatoly Efros: No Better Man
7. The Glasnost Generation
8. Lev Dodin: The Rabbinical Lion
9. The 2000s: A
Torrent Of New Wealth
10. Yuri Butusov: Hooligan On The Playground
11. Dmitry
Krymov: The Accidental Auteur Part 2: The Practice Of Analysis Through
Action; Section A: Text Actions
12. Text Action 1: The First Reading
13. Text
Action 2: Novel Of Life I
14. Text Action 3: Three Rings of Given
Circumstances
15. Text Action 4: Character Given Circumstances
16. Text
Action 5: Novel Of Life II
17. Text Action 6: The Initial Given Circumstance
18. Text Action 7: The Five Event Structure
19. Text Action 8: The Sequence
Of Events
20. Text Action Nine: The Supertask and the Scream
21. Text Action
10: Novel Of Life III Section B: Études
22. Études - An Overview
23. Études -
Implementation
David Chambers is a director, writer, and producer of theatre and opera. His work has been seen in New York from basements to Broadway, in theatres throughout the US, as well as Europe, Russia, and Asia. He taught acting and directing at the Yale School of Drama for three decades. Since then he has been on the faculties of The New School for Drama, The Stella Adler Studio, and Harvard University. He currently teaches in the department of Theatre, Dance, and Performance Studies at Yale University, USA.