40 Questions of One Role

40 Questions of One Role
Автор книги: id книги: 1596786     Оценка: 0.0     Голосов: 0     Отзывы, комментарии: 0 940,39 руб.     (9,34$) Читать книгу Купить и скачать книгу Купить бумажную книгу Электронная книга Жанр: Кинематограф, театр Правообладатель и/или издательство: Автор Дата добавления в каталог КнигаЛит: ISBN: 9783946735069 Скачать фрагмент в формате   fb2   fb2.zip Возрастное ограничение: 0+ Оглавление Отрывок из книги

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A method of questions? A question of method. Alongside any method proposed in this book, the whole system of theatre only makes sense if it is understood creatively, not dogmatically. You can expect to find questions, but not necessarily complete or ready-made answers. Questions should serve as the fundamental key to unlocking potential. The technique to ask questions about a role will enrich actors and directors, leading them to discover the rare, living quality of role, challenging their initial ideas and even causing one's own Perestroika. Take a chance and you will discover an amazing world within the role, full of different puzzles and mysteries, which carry thousands of answers in themselves – sometimes we grasp them in the first few seconds, sometimes never.
For author, director and acting pedagogue, Prof. Dr. Jurij Alschitz, the independent prerogative of the actor as the protagonist of a modern, living, theatre stands in the foreground. 40 Questions of one Role promotes autonomy in the process of creation and within this book, directors and pedagogues alike will find inspiration and support for their own preparation, as well as the rehearsal and teaching process as a whole.

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Jurij Alschitz. 40 Questions of One Role

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Jurij Alschitz

40 Questions of One Role

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A century has since passed. Konstantin shot himself. Chekhov is gone. What has changed in our views of theatre? As before, most actors create a role on the basis of the personnage’s psychological state, purely on the basis of psychological conflict and the plot. I don’t want to say this is wrong but it is insufficient both for the role of the Actor and that of Theatre. What we take on board and sort out as our own personal baggage in life is perfect only for life itself and not at all for Theatre.

This unilateral way of analysing the role brings the actor to a low, base way of thinking, to a stage study, to put it bluntly, of coarseness. It limits his artistic potential, narrows the artistic scope, makes a cliché of the acting and results in inadequate proficiency. Let me explain why…

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