Nikolai Demidov : becoming an actor-creator /
At the time of his death, Stanislavsky considered Nikolai Demidov to be 'his only student, who understands the System'. Demidov's incredibly forward-thinking processes not only continued his teacher's pioneering work, but also solved the problems of an actor's creativity tha...
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| Materialtyp: | E-bok |
| Språk: | engelska ryska |
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Milton Park, Abingdon, Oxon ; New York :
Routledge,
2016.
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| Länkar: | EBSCOhost ProQuest Ebook Central Taylor & Francis Taylor & Francis Taylor & Francis (Unlimited Concurrent Users) VLeBooks VLeBooks Connect to Taylor and Francis e-book https://www.taylorfrancis.com/books/9781315621685 |
Innehållsförteckning:
- Nikolai Demidov- Front Cover; Nikolai Demidov; Title Page; Copyright Page; Contents; List of Figures; Acknowledgements; A Note on the Text; NIKOLAI DEMIDOV: A CREATIVE BIOGRAPHY (From the Editors); Notes; BOOK ONE: THE ART OF THE ACTOR
- ITS PRESENT AND FUTURE; Introduction; Note; Chapter 1: Reasons for the Fall of the Art of the Actor; Enthusiasm for a Production; The Director: His Excessive Power and Ignorance; The Director: Time Pressures and Other Objective Reasons; The Director: Subjective Reasons (Dilettantism, Professional Craftsmanship, Charlatanism).
- "Types" of TheatresRationality and Imperativity in the Actor's Technique; Will and Imperativity; BOOK THREE: THE ART OF LIVING ONSTAGE
- FROM A THEATRE TEACHER'S LABORATORY; Preliminary Notes (From The Author); PART I: The Significance of the Actor's Creative Experiencing: Paths Leading Toward It; Chapter 1: Initial Steps Toward Mastering the Art of the Actor's Experiencing; First Attempts to Create the Science of Actors' Art; Two Paths Toward Experiencing, Indicated by Stanislavsky; Chapter 2: New Paths; Departing from the Principle Of "Elements."
- Chapter 8: The Path to Becoming an ArtistThe Path of Technique; "Broken Outer Shell"; Conclusion; Note; BOOK TWO: ACTOR TYPES; Actor Types; Rationality and the Stage; Emotional Attributes: Their "Structure" and Development. Perception and Reaction; Emotionality and Its Various Forms; Rationality (Reasoning): A Lack of Emotional Development; Process and Result; How Depictors Are Made (A Necessary Elaboration); Those Who Depict and Those Who Live; Distinct Qualities of the Four Actor Types; "Ailments" and Weaknesses (Shortcomings) of the Four Actor Types; Complex Types; The "Types" in Directing.
- On the Actor's Responsibility and HeroismNote; Chapter 2: Truth; Beauty Is not Relative; Truth and Naturalism; More about Naturality and Naturalism; Notes; Chapter 3: Truth, As It Is Commonly Understood (Pseudoexperiencing); The Truth Isn't Limited only to Emotion: Directly Summoning Emotions; Depicting Emotions ("Acting Emotions"); Earthlight; "Buzzzzzz . . ."; A Motor Storm; "Verisimilitude"; Shallow, Verisimilar Idle Talk (Deceptive Simplicity); Notes; Chapter 4: The Intangibility of Truth; Why Is it so Difficult to Find Truth?; Chapter 5: On Artistry and the Artist; On Perfection.
- The Life-Giving OnenessThe Liveliness of a Work of Art; A Living Work of Art in Theatre; A Work of Art and Eternal Ideas; Note; Chapter 6: The Artist: His Chief Qualities; Giftedness; The Ability to Marvel and Venerate; The Soul's Depth, Capacity; The Ideal; The Mission; The Enthusiasm of Youth; The Enthusiasm of Maturity; A Special Mind; Talent; Little Something about Genius; Notes; Chapter 7: The Path of the Artist; Subconscious, Reflexes, Automatic Functions; Technique; Actor's Psycho-technique; How Did Technique Emerge in Theatre?; The Actor's Automatic Functions; Note.