Acting: The First Six Lessons. (Theatre Arts Book) by Richard Boleslavsky, Edith J. R. Isaacs

By Richard Boleslavsky, Edith J. R. Isaacs

This vintage paintings on performing is likely one of the only a few that stands beside Stanislavsky as a must have for all appearing scholars and pros. Richard Boleslavsky's performing: the 1st Six classes is a treasure-box of clever remark concerning the artwork of performing, all wrapped up in six captivating dialogues among a instructor and a scholar. Generations of actors were enriched through Boleslavsky's witty and acute photo of the actor's craft. those six "lessons" -- miniature dramas approximately focus, reminiscence of emotion, dramatic motion, characterization, statement, and rhythm -- distill the problem dealing with each actor. For this reissue the textual content has been completely reset and the booklet jacketed in a modern layout. a necessary paintings at the brief shelf of any appearing pupil.

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Additional info for Acting: The First Six Lessons. (Theatre Arts Book)

Sample text

And did you slap your forearm cruelly without even thinking of the hurt to yourself— with only the wish to…end? THE CREATURE: (Quite ashamed) To kill the beast. I: There you are. A good sensitive artist doesn’t need any more than that to play Othello and Desdemona’s final scene. The rest is the work of magnification, imagination, and belief. Gordon Craig has a charming book-plate, fantastic, with an unusual, beautiful pattern—unknown and strange. You cannot tell what it is, but it gives you a sense of brooding, a sense of boring through, a sense of slow drive and struggle.

They will say, “You are very good, but you lack experience”—and that’s all. What is that cursed experience? There isn’t a thing anybody can tell me about that part—I know everything about it. I look like it, I feel every single minute of it and each change. I know I can act it. And then—“experience”! Oh, I wish I could use some of the words that that motorman used who nearly ran over me. I didn’t hear them, but judging from his face, I know they would be right. As a matter of fact, I think I can guess what they were—and oh, how I could use them now!

And you don’t get much breath from them either. 42 THE THIRD LESSON THE CREATURE: Well, I can see that something is coming. What is it? I: What was your main difficulty acting in the talkies? THE CREATURE: Lack of springboard. Being com pelled to start a scene in the middle and finish it after four or five lines, then in another hour start another scene (which in the script comes before the previous one), then again act four lines and wait an hour. I tell you it’s abnormal, it’s horrible— I: Lack of technique, that’s all.

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