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Out of the large body of materials articles, speeches, notes and memoirs left behind by Stanislavski at the time of his death in 1938, Elizabeth Hapgood, his friend and translator, chose items which concentrate on the essence of his work. The result is a volume which supplements the other books he wrote, and re-emphasizes, sometimes in condensed and particulary vivid form, his views about acting, the theatre and life.
| Foreword to the Second Edition | ||
| Editor's Foreword | ||
| Pt. 1 | "In art you do not command, you persuade ..." | |
| The Long-Hoped-for Child | 3 | |
| What Shall We Learn? | 5 | |
| The Hard Job of Being an Actor | 9 | |
| Types of Actors | 13 | |
| On Being Truthful in Acting | 20 | |
| Acting Looks Easy | 21 | |
| An Actor Is a Teacher of Beauty and Truth - Letter to a Young Student | 27 | |
| Lively Art | 29 | |
| How to Talk to Actors | 30 | |
| Talks with Singers to be Trained as Actors | 31 | |
| Talks with Opera and Acting Students | 32 | |
| Opera Rules | 40 | |
| The Bond Between Music and Action | 43 | |
| Technique of the Creative Mood | 45 | |
| Physical Action as a Means to an End | 46 | |
| Talent, Inspiration and Professionalism | 48 | |
| Back to Work - The Beginning of the Season | 49 | |
| Back to Study - Talks with Established Actors | 73 | |
| The Life of a True Artist | 76 | |
| Pt. 2 | "The Value of any art is determined by its spiritual content ..." | |
| After Ten Years in the Art Theatre | 79 | |
| On the Death of Tolstoy | 80 | |
| Chekhov's Influence on the Art Theatre | 81 | |
| Memories of Chekhov | 84 | |
| Messages about The Cherry Orchard | 123 | |
| Pt. 3 | "My System is the result of lifelong Searchings ..." | |
| On Reaching the Public | 129 | |
| Conversation in an Actor's Dressing Room | 133 | |
| On Drama Criticism and Critics | 135 | |
| Why and When Play Melodrama? | 138 | |
| Young Actors in Mob Scenes | 148 | |
| What is the Grotesque? | 153 | |
| The Inner Pattern of the Role | 157 | |
| The Mysterious World of The Blue Bird | 159 | |
| On Playing Othello | 162 | |
| Pt. 4 | "There is only one Method - that of organic, creative nature ..." | |
| The Theatre in Which the Playwright Is Paramount | 171 | |
| The Theatre in Which the Scene Designer Is Paramount | 175 | |
| An Argument with a Scene Designer | 178 | |
| The Art of the Actor and the Art of the Director | 182 | |
| Pt. 5 | "Memories of the Past ... Dreams of the Future ..." | |
| A Better Mousetrap | 197 | |
| A Theatre for All | 198 | |
| The View at Seventy | 203 | |
| Index | 208 |
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