My Life in ArtTaylor & Francis, 1952 - 582 Seiten Written with the same warmth, liveliness and ability to re-create reality that made Stanislavski a great actor, his autobiography tells of his childhood in the world of Moscow's wealthy merchants, his successes and failures as an amateur actor, how he studied human beings, and developed what has come to be known as the Stanislavski Method, how his group of dedicated amateurs became perhaps the greatest acting group the world has ever known (Washington Post), The Moscow Art Theatre. |
Inhalt
OLD RUSSIA | 3 |
FAMILY LIFE CONTENTS | 12 |
STRUGGLES WITH OBSTINACY | 21 |
VALUE OF CHILDISH IMPRESSIONS | 32 |
PLAY DAYS | 39 |
OUR HOME THEATRE SIONS | 58 |
A SUDDENLY DISCOVERED TALENT | 66 |
RUSSIAN DRAMATIC SCHOOLS | 76 |
THE THREE SISTERS | 370 |
THE FIRST JOURNEY TO PETROGRAD | 376 |
JOURNEYS TO THE PROVINCES | 382 |
THE PEOPLE | 400 |
JULIUS CÆSAR | 408 |
THE LAST YEAR WITH CHEKHOV | 415 |
THE STUDIO ON POVARSKAYA | 425 |
OUR FIRST JOURNEY ABROAD | 439 |
THE LITTLE THEATRE | 91 |
THE CONSERVATORY | 103 |
ATTEMPTS IN OPERETTAS | 116 |
THE OPERA | 132 |
THE MAMONTOV CIRCLE | 141 |
THE SOCIETY OF ART AND LITERATURE | 148 |
FUNDAMENTALS OF ART MATERIAL | 161 |
MARRIAGE | 169 |
CHARACTER PARTS | 180 |
OTHELLO | 277 |
MEETING WITH NEMIROVICHDANCHENKO | 288 |
PAGE | 289 |
MY SUMMER IN PUSHKINO | 300 |
THE PRODUCTIONS OF THE MOSCOW ART THEATRE | 329 |
XXXIL THE LINE OF THE FANTASTIC | 340 |
THE SEAGULL | 352 |
UNCLE VANYA | 360 |
THE CABBAGE PARTIES | 450 |
THE BEGINNINGS OF MY SYSTEM | 458 |
LEOPOLD SULERJITSKY | 468 |
DISAPPOINTMENTS | 484 |
THE LIFE OF MAN | 493 |
ISADORA DUNCAN AND GORDON CRAIG | 505 |
THE FIRST STUDIO | 525 |
CHAPTER PAGE | 531 |
A MONTH IN THE COUNTRY | 542 |
THE SECOND REVOLUTION | 550 |
MY LIFE IN ART | 563 |
3 | 573 |
575 | |
576 | |
579 | |
581 | |
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able actors actress amateurs Anton Pavlovich appeared Art Theatre artistic audience auditorium beautiful became become began beginning Boyars Chekhov color costumes Craig created creative mood Crimea crowd curtain dance demands dramatic dreams dressing room Dukhobors emotion eyes famous Fedotov feel felt footlights forced forestage Gorky Hamlet Iago inner Ivan the Terrible lived look Maeterlinck manner Meiningen Players methods mise en scène Molière Moscow Art Theatre nature necessary Nemirovich-Danchenko night once opera operetta orchestra Othello painted passed performance Petrograd play production prompter's box Pushkino rehearsals repertoire rôle Russian Salvini scene scenery scenic seemed soul sound spectator spiritual stage director stencil Stockman stopped Studio success Sulerjitsky talented technique theatrical thing thought tion tone took tremendous tried true truth Tsar Fyodor Uncle Vanya Uriel Acosta voice walked wanted whole words young
Verweise auf dieses Buch
Acting for Real: Drama Therapy Process, Technique, and Performance Renee Emunah Keine Leseprobe verfügbar - 1994 |