Respect for Acting
Respect for Acting
"This fascinating and detailed book about acting is Miss Hagen's credo, the accumulated wisdom of her years spent in intimate communion with her art. It is at once the voicing of her exacting standards for herself and those she [taught], and an explanation of the means to the end."
"Hagen adds to the large corpus of titles on acting with vivid dicta drawn from experience, skill, and a sense of personal and professional worth. Her principal asset in this treatment is her truly significant imagination. Her 'object exercises' display a wealth of detail with which to stimulate the student preparing a scene for presentation."
"Uta Hagen's Respect for Acting . . . is a relatively small book. But within it, Miss Hagen tells the young actor about as much as can be conveyed in print of his craft."
--Los Angeles Times
"There are almost no American actors uninfluenced by Uta Hagen."
"This is a textbook for aspiring actors, but working thespians can profit much by it. Anyone with just a casual interest in the theater should also enjoy its behind-the-scenes flavor."
--King Features Syndicate
What people are saying - Write a review
LibraryThing ReviewUser Review - watertiger - LibraryThing
In the early 1980's I was fortunate enough to participate in a master class with Uta Hagen and watch her perform in a one woman show afterwards. This text is terrific for actors. To this day when ... Read full review
The Fourth Wall
Talking to Yourself
Walking and Talking
Improvisation Chapter 10 Reality
PART TWO The Object Exercises
The Basic Object Exercise
Accents and Dialects
Other editions - View all
acting actor actress actually adjustments Albert Basserman areas artist ashtray attention audience aware become behavior believe Belle Reve Blanche Blanche DuBois bring character character’s Clifford Odets cold condition consequent curtain deal director discover door emotional endless endow entrance example experience explore eyes feel fourth wall Gerard Philipe give given circumstances Glass Menagerie happens headache human identification imagination immediately improvise influence inner objects Laurette Taylor live look Lynn Fontanne monologue never Object Exercises obstacles ourselves outer particular performance person physical play playwright present problem psychological re-create reality rehearsal relationship remember Respect for Acting role scene selection sensations sense memory sensory Sidney Greenstreet simply sitting someone specific spontaneous stage Streetcar Named Desire studio subconscious substitution supposed surroundings talking task teacher technique theater things Uncle Vanya waiting walk What’s words