Approaches to Acting: Past and Present
For centuries the theatre has been one of the major forms of art. How did acting, and its institutionalization in the theatre, begin in the first place? In some cultures complex stories relate the origin of acting and the theatre. And over time, approaches to acting have changed considerably. In the West, until the end of the 19th century, those changes occurred within the realm of acting itself, focusing on the question of whether acting should be 'natural' or 'formal.' Approaches to acting were closely related to the trends in culture at large. Acting became more and more professional and sophisticated as philosophical theories developed and knowledge in the human sciences increased. In the 20th century, the director was established as the most important force in the theater--able to lead actors to pinnacles of their art which they could not have achieved on their own. Approaches to acting in non-Western cultures follow quite different patterns. This book provides a clear overview of different approaches to acting, both historical and contemporary, Western and non-Western, and concludes with a challenge to the future of the art.
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Approaches to Acting from 1550 to 1900
5 Approaches to Acting in the Twentieth Century
6 NonWestern Approaches to Acting
7 Approaches to Acting in the Intercultural Paradigm
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Abhinavagupta abhinaya achieve actor approaches to acting argues Artaud aspects audience Balinese Balinese theatre Barba Bauhaus Bharucha body Brahman Brecht character characterized chhandas concept context costume create criticism culture Dada dance defined described developed Diderot director drama dramatist elements emotions emphasis Eugenio Barba example experienced expression Expressionism feelings function German gestures Grotowski histrionic representation Holy Theatre human Ibid Indian philosophy individual influence intellect intercultural theatre intuition involved jingju kabuki language leading London Mahabharata Maharishi Mahesh Yogi major masks means of histrionic Meyerhold mind movement mystical nature Natyashastra Orghast paradox Pavis performance art Peter Brook physical actions play points postmodern production psychology pure consciousness rasa realism refers rehearsal rishi ritual Roger Planchon role Routledge Samhita sattva sense specific spectator spectator's sphota stage Stanislavsky Strasberg student style techniques term theatre artists theatrical traditional troupes unconscious unity University Press Vedic Vsevolod Meyerhold