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Informationen zum Autor Edward Dwight Easty Klappentext 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.Introduction Upon reaching the end of my writing of this book, I realized that there is much more that could possibly have been said on the subject. I want to say more but at the same time know that one book, or even volumes, cannot say it all; for art grows faster than all the writers of the world can record it. The salient facets of Konstantin Sergeyevich Stanislavsky’s System as it has evolved to us today are the only parts I have discussed in this book. They are the very basis of the modern Method teacher’s way of teaching. Those readers familiar with Stanislavsky’s writings will ask what has happened to other aspects of his teachings. I can only answer that the facets set forth in this book are the ones in general use today by the leading proponents of his system. The rest of his teachings are either incorporated into what I have included or have been dropped because of their impracticality for the Western theatre. The main facets of the Method as I have outlined them are in fact more than just facets of anything. They are basic principles which should be applied to the personality of the individual actor as well as to his role. I say this because they are sound and healthy principles; ones that if transgressed will stay any creative and artistic progress in the future development of the actor. Also, if any of them are violated, it will mean that the others will soon fall by the wayside. Their interdependency is fairly obvious. I have broken the Method down into its familiar groupings and tried to present them in a manner easily understood by the layman as well as the serious student of acting. As for the use of this book, I would say that it is more desirable for an actor who is studying with a Method teacher to use this book either for an easier understanding of his studies or as a reference. This is particularly true for the exercises as outlined, but it can also be used by the person interested in learning what the Method is all about. So much has been said and written about it, usually by people who are prone to criticize something they regard as mystical, something they do not understand and have not taken the time to learn. All books by Stanislavsky should be read by the serious acting student. An intellectual understanding of his system is necessary, but also an understanding of why there have been changes in it is equally important. However, an intellectual understanding is hardly enough. It must be applied, but this cannot be done without first learning how to apply it. This can only be done with the aid of a teacher who adheres to all facets of Stanislavsky’s system as they have evolved; a teacher who conducts regular classes that will train and develop the actor’s instrument. It definitely cannot be studied alone, unfortunately, and for this reason classes are necessary. Jus...
