The Other Way: An Alternative Approach to Acting and DirectingApplause, 1999 - 243 Seiten (Applause Books). Marowitz examines every aspect of contemporary theatre practice including auditions, first-readings, the rehearsal process, classical techniques and performance art. He delves beyond sub-text, probing the labyrinth that exists beneath conventional psychology. Marowitz comes up with a tantalizing new brew of ideas with which actors and directors can ply their craft into the new millennium. |
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Seite 12
... action - lines which underlie the scene . For instance , we might say that Hamlet's primary action is to convey an impression of madness ; the ' antic disposition ' he has told us he is intending to ' put on ' to help expose the plot ...
... action - lines which underlie the scene . For instance , we might say that Hamlet's primary action is to convey an impression of madness ; the ' antic disposition ' he has told us he is intending to ' put on ' to help expose the plot ...
Seite 13
... action - lines have been agreed upon by the actors - the scene is replayed with the original blocking using only the action - lines or slight variations of same . The original text is forbidden the actors . Once this has been done , the ...
... action - lines have been agreed upon by the actors - the scene is replayed with the original blocking using only the action - lines or slight variations of same . The original text is forbidden the actors . Once this has been done , the ...
Seite 28
... action is provoked into being . We only examine a charac- ter's motivation after the fact in order to determine the reasons he or she was provoked into action . Initially , it is the provocation , which trig- gers the event . In our own ...
... action is provoked into being . We only examine a charac- ter's motivation after the fact in order to determine the reasons he or she was provoked into action . Initially , it is the provocation , which trig- gers the event . In our own ...
Inhalt
AUTHORS PREFACE | 1 |
FROM SUBTEXT TO URTEXT | 2 |
THE ART OF PROVOCATION | 3 |
Urheberrecht | |
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20th century accents achieve acting action Antonin Artaud Artaud artistic audience become behavior believe beneath Bertolt Brecht BRECHT Brechtian character character's Charles Marowitz Chekhov classic color comedy consciousness constantly contemporary conventional convey create director dramatic effect emotional esthetic exercise experience express fact feelings going Group Theatre Hamlet ideas imagination improvisation impulses interpretation Jean Genet kind Konnie Konstantin Stanislavsky Laertes language lecture lives Macbeth Marowitz mask matter means merely Method actor mind modern Moscow Arts movement nature needs Neil Simon never object once Ophelia original paradox physical play play's playwright precisely production psychological psychotic question realism reality rehearsals result rhythm Richard Richard III role scene sense Shakespeare situation social sound sound-and-movement Spalding Gray speak speech stage Stanislavsky Strasberg style sub-text theatre Theatre of Cruelty theatrical things tion transform truth trying ur-text verse vocal voice words work-out