No one has had a greater influence on acting as we know it than Stanislavski. His 'method' - or interpretations of it - has become the central force determining almost every performance we see on stage or screen. In My Life in Art Stanislavski recalls his theatrical career, from his early experiences in Rubinstein's Russian Musical Society to his final triumphs with Chekhov at the Moscow Art Theatre. His vivid accounts of his own most famous productions including 'The Seagul' and 'Uncle Vanya' are interspersed with anecdotes of the famous - of Kommisarjevksy, Tolstoy, Gorky, and of the Moscow visit of Isadora Duncan and Gordon Craig.…mehr
No one has had a greater influence on acting as we know it than Stanislavski. His 'method' - or interpretations of it - has become the central force determining almost every performance we see on stage or screen. In My Life in Art Stanislavski recalls his theatrical career, from his early experiences in Rubinstein's Russian Musical Society to his final triumphs with Chekhov at the Moscow Art Theatre. His vivid accounts of his own most famous productions including 'The Seagul' and 'Uncle Vanya' are interspersed with anecdotes of the famous - of Kommisarjevksy, Tolstoy, Gorky, and of the Moscow visit of Isadora Duncan and Gordon Craig.
Constantin Stanislavski died in 1938 and is the most influential person in actor training to date. As co-founder of the Moscow Art Theatre, he developed his theories of acting.
Inhaltsangabe
I Old Russia II Family Life III Struggles with Obstinacy IV Value of Childish Impressions V Play Days VI Our Home Theatre VII A Suddenly Discovered Talent VIII Russian Dramatic Schools IX The Little Theatre X The Conservatory XI Anton Rubenstein XII Attempts in Operettas XIII The Opera XIV The Mamontov Circle XV The Society of Art and Literature XVI Fundamentals of Art Material XVII Marriage XVIII Character Parts XIX Genius of Director Kronek XX First Experience as a Director XXI Lev Tolstoy XXII "Uriel Acosta" XXIII "The Polish Jew" XXIV The Professional Theatre XXV New Stage Effects XXVI Tommaso Salvini The Elder XXVII Othello XXVIII Meeting with Nemirovich-Danchenko XXIX My summer in Pushkino XXX The Founding of the Moscow Art Theatre XXXI The Productions of the Moscow Art Theatre XXXII The Line of the Fantastic XXXIII Symbolism and Impressionism XXXIV "The Seagul" XXXV "Uncle Vanya" XXXVI The Journey to the Crimea in 1900 XXXVII "The Three Sisters" XXXVIII The First Journey to Petrograd XXXIX Journeys to the Provinces XL The Line of Social and Political Moods XLI "The Power of Darkness" and "The Enemy of the People" XLII Julius Cæsar XLIII The Last Year with Chekhov XLIV "The Cherry Orchard" XLV The Studio on Povarskaya XLVI Our First Journey Abroad XLVII The Cabbage Parties XLVIII The Beginnings of My System XLIX Leopold Sulerjitsky L " The Drama of Life" LI Disappointments LII "The Life of Man" LIII A Visit to Maeterlinck LIV Isadora Duncan and Gordon Craig LV The First Studio LVI The Founding of the First Studio LVII "A Month in the Country" LVIII The War LIX The Second Revolution LX The Opera Studio LXI My Life in Art Appendices List of the Productions of the Alexeiev Circle List of the Productions of the Society of Art and Literature List of the Productions of the Moscow Art Theatre Index
I Old Russia II Family Life III Struggles with Obstinacy IV Value of Childish Impressions V Play Days VI Our Home Theatre VII A Suddenly Discovered Talent VIII Russian Dramatic Schools IX The Little Theatre X The Conservatory XI Anton Rubenstein XII Attempts in Operettas XIII The Opera XIV The Mamontov Circle XV The Society of Art and Literature XVI Fundamentals of Art Material XVII Marriage XVIII Character Parts XIX Genius of Director Kronek XX First Experience as a Director XXI Lev Tolstoy XXII "Uriel Acosta" XXIII "The Polish Jew" XXIV The Professional Theatre XXV New Stage Effects XXVI Tommaso Salvini The Elder XXVII Othello XXVIII Meeting with Nemirovich-Danchenko XXIX My summer in Pushkino XXX The Founding of the Moscow Art Theatre XXXI The Productions of the Moscow Art Theatre XXXII The Line of the Fantastic XXXIII Symbolism and Impressionism XXXIV "The Seagul" XXXV "Uncle Vanya" XXXVI The Journey to the Crimea in 1900 XXXVII "The Three Sisters" XXXVIII The First Journey to Petrograd XXXIX Journeys to the Provinces XL The Line of Social and Political Moods XLI "The Power of Darkness" and "The Enemy of the People" XLII Julius Cæsar XLIII The Last Year with Chekhov XLIV "The Cherry Orchard" XLV The Studio on Povarskaya XLVI Our First Journey Abroad XLVII The Cabbage Parties XLVIII The Beginnings of My System XLIX Leopold Sulerjitsky L " The Drama of Life" LI Disappointments LII "The Life of Man" LIII A Visit to Maeterlinck LIV Isadora Duncan and Gordon Craig LV The First Studio LVI The Founding of the First Studio LVII "A Month in the Country" LVIII The War LIX The Second Revolution LX The Opera Studio LXI My Life in Art Appendices List of the Productions of the Alexeiev Circle List of the Productions of the Society of Art and Literature List of the Productions of the Moscow Art Theatre Index
Rezensionen
This book is a necessity of every actor's life... one of the most remarkable books about theatre that I have ever read. The Observer
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