Sprache: Englisch
Verlag: Cambridge University Press, 2011
ISBN 10: 052128337X ISBN 13: 9780521283373
Anbieter: Seagull Books, Hove, Vereinigtes Königreich
EUR 38,76
Anzahl: 1 verfügbar
In den WarenkorbSoft cover. Zustand: Very Good. Has some light general reading/shelfwear - otherwise this is a clean, tight copy. Quick dispatch from the UK. Book.
Sprache: Englisch
Verlag: Cambridge University Press, 2011
ISBN 10: 052128337X ISBN 13: 9780521283373
Anbieter: Ria Christie Collections, Uxbridge, Vereinigtes Königreich
EUR 55,30
Anzahl: Mehr als 20 verfügbar
In den WarenkorbZustand: New. In.
Sprache: Englisch
Verlag: Cambridge University Press, 2011
ISBN 10: 052128337X ISBN 13: 9780521283373
Anbieter: Kennys Bookstore, Olney, MD, USA
Zustand: New. A study of Stanislavsky's highly influential method of acting, which draws upon original source material. Num Pages: 316 pages, Illustrations. BIC Classification: ANB; ANC. Category: (P) Professional & Vocational. Dimension: 229 x 150 x 22. Weight in Grams: 430. . 2011. Illustrated. paperback. . . . . Books ship from the US and Ireland.
Sprache: Englisch
Verlag: Cambridge University Press, 2011
ISBN 10: 052128337X ISBN 13: 9780521283373
Anbieter: AHA-BUCH GmbH, Einbeck, Deutschland
Taschenbuch. Zustand: Neu. Druck auf Anfrage Neuware - Printed after ordering - Konstantin Stanislavsky, the Russian director and actor and co-founder, in 1898, of the Moscow Art Theatre, was the originator of the most influential system of acting in the history of western theatre. Many of Stanislavsky's concepts are widespread in popular thought on acting; this book offers a evaluation of the basis of his ideas, discussing whether the system has survived because Stanislavsky made discoveries about acting that are and always have been scientifically verifiable, or whether his methods work on a practical basis despite an outdated theory. Drawing on information that has become available in recent years in Russia, the book examines how the development of Stanislavsky's system was influenced by scientific discoveries in his lifetime, and compares Stanislavsky's methods with those of Evgeny Vakhtangov, Michael Chekhov and Vsevolod Meyerhold. A full understanding of these ideas is crucial for anyone interested in acting and actor-training today.