Dynamic acting through active analysis: Konstantin Stanislavsky, Maria Knebel, and their legacy
"Dynamic Acting through Active Analysis is a pragmatic guide for actors to the history and practice of Stanislavsky's last and most innovative approach to performance. Named "Active Analysis" by Maria Knebel, Stanislavsky's most influential protégé, it invites actors to expl...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London ; New York ; Oxford ; New Delhi ; Sydney
Bloomsbury Methuen Drama
2023
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | "Dynamic Acting through Active Analysis is a pragmatic guide for actors to the history and practice of Stanislavsky's last and most innovative approach to performance. Named "Active Analysis" by Maria Knebel, Stanislavsky's most influential protégé, it invites actors to explore the interactive dynamics in scenes by enacting them before memorizing lines. This process of analyzing texts actively taps actors' minds, bodies and spirits simultaneously, thus fostering dynamic acting. In Part 1 of the book, the author introduces the people who sacrificed much to create and keep the technique alive during the darkest era of Soviet repression. In Part 2, actors are offered a series of lessons on the fundamentals of Active Analysis and its applications to classic and contemporary plays. Herself a Russian speaker and a world-leading expert on Active Analysis, Sharon Marie Carnicke draws on memoirs, letters, eyewitness accounts, Knebel's 6 books and other Russian language textbooks to enrich this guide. The first practical guide for today's actors in English to the history and practice of Active Analysis, this much-needed book equips the reader with the artistic flexibility needed to work across a range of dramatic styles and across media" |
| Beschreibung: | xvii, 229 Seiten Illustrationen 24,4 cm |
| ISBN: | 9781350205178 9781350205185 |
Internformat
MARC
| LEADER | 00000nam a2200000 c 4500 | ||
|---|---|---|---|
| 001 | BV048835079 | ||
| 003 | DE-604 | ||
| 005 | 20230510 | ||
| 007 | t | ||
| 008 | 230228s2023 a||| |||| 00||| eng d | ||
| 020 | |a 9781350205178 |q pbk |9 978-1-350-20517-8 | ||
| 020 | |a 9781350205185 |q hbk |9 978-1-350-20518-5 | ||
| 035 | |a (OCoLC)1373963099 | ||
| 035 | |a (DE-599)BVBBV048835079 | ||
| 040 | |a DE-604 |b ger |e rda | ||
| 041 | 0 | |a eng | |
| 049 | |a DE-12 | ||
| 084 | |a OST |q DE-12 |2 fid | ||
| 100 | 1 | |a Carnicke, Sharon Marie |d 1949- |e Verfasser |0 (DE-588)124386210 |4 aut | |
| 245 | 1 | 0 | |a Dynamic acting through active analysis |b Konstantin Stanislavsky, Maria Knebel, and their legacy |c Sharon Marie Carnicke |
| 264 | 1 | |a London ; New York ; Oxford ; New Delhi ; Sydney |b Bloomsbury Methuen Drama |c 2023 | |
| 300 | |a xvii, 229 Seiten |b Illustrationen |c 24,4 cm | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 505 | 8 | |a The mystery on Leontyevsky Lane -- Behind closed doors -- The truth will out! -- The dynamic principles of performance -- Scene study through active analysis : Shakespeare -- Scene study through active analysis : Chekhov -- Rehearsing a play through active analysis : Johnson -- The system in active analysis -- Working with active analysis in the real world | |
| 520 | 3 | |a "Dynamic Acting through Active Analysis is a pragmatic guide for actors to the history and practice of Stanislavsky's last and most innovative approach to performance. Named "Active Analysis" by Maria Knebel, Stanislavsky's most influential protégé, it invites actors to explore the interactive dynamics in scenes by enacting them before memorizing lines. This process of analyzing texts actively taps actors' minds, bodies and spirits simultaneously, thus fostering dynamic acting. In Part 1 of the book, the author introduces the people who sacrificed much to create and keep the technique alive during the darkest era of Soviet repression. In Part 2, actors are offered a series of lessons on the fundamentals of Active Analysis and its applications to classic and contemporary plays. Herself a Russian speaker and a world-leading expert on Active Analysis, Sharon Marie Carnicke draws on memoirs, letters, eyewitness accounts, Knebel's 6 books and other Russian language textbooks to enrich this guide. The first practical guide for today's actors in English to the history and practice of Active Analysis, this much-needed book equips the reader with the artistic flexibility needed to work across a range of dramatic styles and across media" | |
| 600 | 1 | 7 | |a Stanislavskij, Konstantin Sergeevič |d 1863-1938 |0 (DE-588)118616765 |2 gnd |9 rswk-swf |
| 600 | 1 | 7 | |a Knebel', Marija O. |d 1898-1985 |0 (DE-588)128707755 |2 gnd |9 rswk-swf |
| 648 | 7 | |a Geschichte 2017-2022 |2 gnd |9 rswk-swf | |
| 650 | 0 | 7 | |a Rezeption |0 (DE-588)4049716-1 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a The method |g Schauspielunterricht |0 (DE-588)4387628-6 |2 gnd |9 rswk-swf |
| 653 | 0 | |a Method acting | |
| 653 | 0 | |a Theater rehearsals | |
| 653 | 1 | |a Stanislavsky, Konstantin / 1863-1938 / Criticism and interpretation | |
| 653 | 1 | |a Knebelʹ, M. / (Marii͡a) / Criticism and interpretation | |
| 653 | 1 | |a Knebelʹ, M. / (Marii͡a) | |
| 653 | 1 | |a Stanislavsky, Konstantin / 1863-1938 | |
| 653 | 0 | |a Method acting | |
| 653 | 0 | |a Theater rehearsals | |
| 653 | 6 | |a Criticism, interpretation, etc | |
| 689 | 0 | 0 | |a Stanislavskij, Konstantin Sergeevič |d 1863-1938 |0 (DE-588)118616765 |D p |
| 689 | 0 | 1 | |a Knebel', Marija O. |d 1898-1985 |0 (DE-588)128707755 |D p |
| 689 | 0 | 2 | |a The method |g Schauspielunterricht |0 (DE-588)4387628-6 |D s |
| 689 | 0 | 3 | |a Rezeption |0 (DE-588)4049716-1 |D s |
| 689 | 0 | 4 | |a Geschichte 2017-2022 |A z |
| 689 | 0 | |5 DE-604 | |
| 776 | 0 | 8 | |i Erscheint auch als |n Online-Ausgabe |z 978-1-350-20519-2 |
| 856 | 4 | 2 | |m Digitalisierung BSB München - ADAM Catalogue Enrichment |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034100601&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |3 Inhaltsverzeichnis |
| 940 | 1 | |n oe | |
| 940 | 1 | |q BSB_NED_20230421 | |
| 999 | |a oai:aleph.bib-bvb.de:BVB01-034100601 | ||
| 942 | 1 | 1 | |c 792.09 |e 22/bsb |f 0904 |g 471 |
Datensatz im Suchindex
| _version_ | 1804184939835424768 |
|---|---|
| adam_text | Contents List of Illustrations viii About the Author ix Acknowledgments Note on Transliteration and Translation of Russian Sources x xi Abbreviations of Frequently Cited Sources Preface: To My Readers xii xiii The Hidden Historical Record in Part I xiv The Fictional Studio in Part II xvi Part 1 The People behind the Legacy i 1 з 2 3 The Mystery on Leontyevsky Lane A Gala Affair at the Moscow Art Theatre 3 A Soviet Game of Bait and Switch: Recuperating Abroad 9 The New Normal: Internal Exile The System for the Cause: The Opera-Dramatic Studio 13 21 “Let Them Not Exchange Stones for Bread!” 23 Behind Closed Doors 26 For the Love of Theatre 26 A Tantalizing Invitation 31 Inside the Opera-Dramatic Studio Stanislavsky at Work 33 34 An Intolerably Hot August 45 The Truth Will Out! so A Normal Soviet Life 50 Fired! A Company of Her Own 53 55 Spreading the Word 57 “My Own Cherry Orchard” 61 The Future Is Today, Now, Here 64
Part 2 Six Lessons în Active Analysis 69 The Dynamic Principles of Performance 71 Prelude 71 Stanislavsky’s Changing Concepts of Action 73 1 2 In Practice: Action, Counteraction, Event 76 The Qualities of Counteraction 79 Forging Alliances in a Scene 83 Counteraction or Conflict 84 Scene Study through Active Analysis—Shakespeare 91 An Overview of Rehearsing through Active Analysis 91 The Play as a Score for Performance In Practice: Rehearsing Shakespeare’s Macbeth (1606), Act I scene 7 92 95 Step One: Reading for the Facts Step Two: A Paraphrase Etude 106 110 114 Step One: Reading for the Facts Again 114 Step Two: Another Etude Step Three: Assess in Order to Repeat 114 115 Repeat 116 Scene Study through Active Analysis—Chekhov 118 Prelude The Difference between Improvisations and Etudes In Practice: Rehearsing an Excerpt from Act II in Chekhov’s Three Sisters (1900) 118 118 121 Step One: Reading for the Facts (Razbor) Step Two: A One-Sentence Etude 122 130 Step Three: Assess in Order to Repeat 132 Another Round of Active Analysis Step One: Reading for the Facts Again 134 134 Step Two: A Silent Etude Step Three: Assess in order to Repeat 135 137 Yet Another Round of Active Analysis 4 96 Step Three: Assess in Order to Repeat—The Problem and the Verb Another Round of Active Analysis 3 91 Prelude 138 Step One: Reading for the Facts Again 138 Step Two: A Paraphrase Etude Step 3: Assess in Order to Repeat 139 Rehearsing a Play through Active Analysis—Johnson 142 145 Prelude 145 The Ue (2020) by Joan Eyles Johnson: The Play as It Makes Itself Felt Three Overarching Perspectives on
the Play (Sverkhzadacha) 146 150 The Author’s Perspective 150 The Balance of Facts and Open Clues in The Lie vi Contents 153
The Formalist Concepts of Story and Plot Story and Plot in The Lie 157 159 A Cast and Set for The Lie 160 Interlude 161 In Practice: A Preliminary Chain of Events The Facts and Dynamics in The Lie’s Preliminary Chain of Events 161 163 A First Etude: Paraphrase 165 Assessment in Order to Repeat The Role’s Perspective: Lilly Rethinking the Role through Knebel’s Inner Monologue Exercise A Second Etude: Silent 165 167 169 170 173 Revising the Chain of Events 173 Revising Lilly’s Perspective 173 The Second Etude on The Lie 173 Assess in Order to Determine the Next Step 174 The Ensemble s Perspective Epilogue 175 175 The System in Active Analysis 177 In Search of the Actor’s Creative State 177 Belief from Knowledge Emotion as the Sixth Sense 180 185 Experiencing the Present Reality of Performance 187 190 In Practice: The Exercise as a “Little Piece of Art” 6 155 The Theory behind the Chain of Events Tovstonogov’s Alternative Chain of Events The First Etude on The Ue 5 154 Three Classic Exercises from Stanislavsky’s System 190 Knebel’s Favorite Exercise: Devising a Story through Gestures 195 Working with Active Analysis in the Real World 197 Prelude The Ideal Meets the Real 197 198 Various Paths in Acting 201 Stage and Screen 201 Liliana Carrillo: The Art of Regional Theatre 201 Louisa Abernathy: The Business of Screen Acting 203 Tiffany Cole: Stage and Screen 204 Working Solo with Active Analysis 205 Trailblazing 206 Devising New Works through Active Analysis 207 Appendix: The Lie (2020) by Joan Eyles Johnson 211 Bibliography Index 219 226 Contents vii
|
| adam_txt |
Contents List of Illustrations viii About the Author ix Acknowledgments Note on Transliteration and Translation of Russian Sources x xi Abbreviations of Frequently Cited Sources Preface: To My Readers xii xiii The Hidden Historical Record in Part I xiv The Fictional Studio in Part II xvi Part 1 The People behind the Legacy i 1 з 2 3 The Mystery on Leontyevsky Lane A Gala Affair at the Moscow Art Theatre 3 A Soviet Game of Bait and Switch: Recuperating Abroad 9 The New Normal: Internal Exile The System for the Cause: The Opera-Dramatic Studio 13 21 “Let Them Not Exchange Stones for Bread!” 23 Behind Closed Doors 26 For the Love of Theatre 26 A Tantalizing Invitation 31 Inside the Opera-Dramatic Studio Stanislavsky at Work 33 34 An Intolerably Hot August 45 The Truth Will Out! so A Normal Soviet Life 50 Fired! A Company of Her Own 53 55 Spreading the Word 57 “My Own Cherry Orchard” 61 The Future Is Today, Now, Here 64
Part 2 Six Lessons în Active Analysis 69 The Dynamic Principles of Performance 71 Prelude 71 Stanislavsky’s Changing Concepts of Action 73 1 2 In Practice: Action, Counteraction, Event 76 The Qualities of Counteraction 79 Forging Alliances in a Scene 83 Counteraction or Conflict 84 Scene Study through Active Analysis—Shakespeare 91 An Overview of Rehearsing through Active Analysis 91 The Play as a Score for Performance In Practice: Rehearsing Shakespeare’s Macbeth (1606), Act I scene 7 92 95 Step One: Reading for the Facts Step Two: A Paraphrase Etude 106 110 114 Step One: Reading for the Facts Again 114 Step Two: Another Etude Step Three: Assess in Order to Repeat 114 115 Repeat 116 Scene Study through Active Analysis—Chekhov 118 Prelude The Difference between Improvisations and Etudes In Practice: Rehearsing an Excerpt from Act II in Chekhov’s Three Sisters (1900) 118 118 121 Step One: Reading for the Facts (Razbor) Step Two: A One-Sentence Etude 122 130 Step Three: Assess in Order to Repeat 132 Another Round of Active Analysis Step One: Reading for the Facts Again 134 134 Step Two: A Silent Etude Step Three: Assess in order to Repeat 135 137 Yet Another Round of Active Analysis 4 96 Step Three: Assess in Order to Repeat—The Problem and the Verb Another Round of Active Analysis 3 91 Prelude 138 Step One: Reading for the Facts Again 138 Step Two: A Paraphrase Etude Step 3: Assess in Order to Repeat 139 Rehearsing a Play through Active Analysis—Johnson 142 145 Prelude 145 The Ue (2020) by Joan Eyles Johnson: The Play as It Makes Itself Felt Three Overarching Perspectives on
the Play (Sverkhzadacha) 146 150 The Author’s Perspective 150 The Balance of Facts and Open Clues in The Lie vi Contents 153
The Formalist Concepts of Story and Plot Story and Plot in The Lie 157 159 A Cast and Set for The Lie 160 Interlude 161 In Practice: A Preliminary Chain of Events The Facts and Dynamics in The Lie’s Preliminary Chain of Events 161 163 A First Etude: Paraphrase 165 Assessment in Order to Repeat The Role’s Perspective: Lilly Rethinking the Role through Knebel’s Inner Monologue Exercise A Second Etude: Silent 165 167 169 170 173 Revising the Chain of Events 173 Revising Lilly’s Perspective 173 The Second Etude on The Lie 173 Assess in Order to Determine the Next Step 174 The Ensemble's Perspective Epilogue 175 175 The System in Active Analysis 177 In Search of the Actor’s Creative State 177 Belief from Knowledge Emotion as the Sixth Sense 180 185 Experiencing the Present Reality of Performance 187 190 In Practice: The Exercise as a “Little Piece of Art” 6 155 The Theory behind the Chain of Events Tovstonogov’s Alternative Chain of Events The First Etude on The Ue 5 154 Three Classic Exercises from Stanislavsky’s System 190 Knebel’s Favorite Exercise: Devising a Story through Gestures 195 Working with Active Analysis in the Real World 197 Prelude The Ideal Meets the Real 197 198 Various Paths in Acting 201 Stage and Screen 201 Liliana Carrillo: The Art of Regional Theatre 201 Louisa Abernathy: The Business of Screen Acting 203 Tiffany Cole: Stage and Screen 204 Working Solo with Active Analysis 205 Trailblazing 206 Devising New Works through Active Analysis 207 Appendix: The Lie (2020) by Joan Eyles Johnson 211 Bibliography Index 219 226 Contents vii |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | Carnicke, Sharon Marie 1949- |
| author_GND | (DE-588)124386210 |
| author_facet | Carnicke, Sharon Marie 1949- |
| author_role | aut |
| author_sort | Carnicke, Sharon Marie 1949- |
| author_variant | s m c sm smc |
| building | Verbundindex |
| bvnumber | BV048835079 |
| contents | The mystery on Leontyevsky Lane -- Behind closed doors -- The truth will out! -- The dynamic principles of performance -- Scene study through active analysis : Shakespeare -- Scene study through active analysis : Chekhov -- Rehearsing a play through active analysis : Johnson -- The system in active analysis -- Working with active analysis in the real world |
| ctrlnum | (OCoLC)1373963099 (DE-599)BVBBV048835079 |
| era | Geschichte 2017-2022 gnd |
| era_facet | Geschichte 2017-2022 |
| format | Book |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>04201nam a2200601 c 4500</leader><controlfield tag="001">BV048835079</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">20230510 </controlfield><controlfield tag="007">t</controlfield><controlfield tag="008">230228s2023 a||| |||| 00||| eng d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9781350205178</subfield><subfield code="q">pbk</subfield><subfield code="9">978-1-350-20517-8</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9781350205185</subfield><subfield code="q">hbk</subfield><subfield code="9">978-1-350-20518-5</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)1373963099</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV048835079</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rda</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-12</subfield></datafield><datafield tag="084" ind1=" " ind2=" "><subfield code="a">OST</subfield><subfield code="q">DE-12</subfield><subfield code="2">fid</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Carnicke, Sharon Marie</subfield><subfield code="d">1949-</subfield><subfield code="e">Verfasser</subfield><subfield code="0">(DE-588)124386210</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Dynamic acting through active analysis</subfield><subfield code="b">Konstantin Stanislavsky, Maria Knebel, and their legacy</subfield><subfield code="c">Sharon Marie Carnicke</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">London ; New York ; Oxford ; New Delhi ; Sydney</subfield><subfield code="b">Bloomsbury Methuen Drama</subfield><subfield code="c">2023</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">xvii, 229 Seiten</subfield><subfield code="b">Illustrationen</subfield><subfield code="c">24,4 cm</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">n</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">nc</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">The mystery on Leontyevsky Lane -- Behind closed doors -- The truth will out! -- The dynamic principles of performance -- Scene study through active analysis : Shakespeare -- Scene study through active analysis : Chekhov -- Rehearsing a play through active analysis : Johnson -- The system in active analysis -- Working with active analysis in the real world</subfield></datafield><datafield tag="520" ind1="3" ind2=" "><subfield code="a">"Dynamic Acting through Active Analysis is a pragmatic guide for actors to the history and practice of Stanislavsky's last and most innovative approach to performance. Named "Active Analysis" by Maria Knebel, Stanislavsky's most influential protégé, it invites actors to explore the interactive dynamics in scenes by enacting them before memorizing lines. This process of analyzing texts actively taps actors' minds, bodies and spirits simultaneously, thus fostering dynamic acting. In Part 1 of the book, the author introduces the people who sacrificed much to create and keep the technique alive during the darkest era of Soviet repression. In Part 2, actors are offered a series of lessons on the fundamentals of Active Analysis and its applications to classic and contemporary plays. Herself a Russian speaker and a world-leading expert on Active Analysis, Sharon Marie Carnicke draws on memoirs, letters, eyewitness accounts, Knebel's 6 books and other Russian language textbooks to enrich this guide. The first practical guide for today's actors in English to the history and practice of Active Analysis, this much-needed book equips the reader with the artistic flexibility needed to work across a range of dramatic styles and across media"</subfield></datafield><datafield tag="600" ind1="1" ind2="7"><subfield code="a">Stanislavskij, Konstantin Sergeevič</subfield><subfield code="d">1863-1938</subfield><subfield code="0">(DE-588)118616765</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="600" ind1="1" ind2="7"><subfield code="a">Knebel', Marija O.</subfield><subfield code="d">1898-1985</subfield><subfield code="0">(DE-588)128707755</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="648" ind1=" " ind2="7"><subfield code="a">Geschichte 2017-2022</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Rezeption</subfield><subfield code="0">(DE-588)4049716-1</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">The method</subfield><subfield code="g">Schauspielunterricht</subfield><subfield code="0">(DE-588)4387628-6</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="653" ind1=" " ind2="0"><subfield code="a">Method acting</subfield></datafield><datafield tag="653" ind1=" " ind2="0"><subfield code="a">Theater rehearsals</subfield></datafield><datafield tag="653" ind1=" " ind2="1"><subfield code="a">Stanislavsky, Konstantin / 1863-1938 / Criticism and interpretation</subfield></datafield><datafield tag="653" ind1=" " ind2="1"><subfield code="a">Knebelʹ, M. / (Marii͡a) / Criticism and interpretation</subfield></datafield><datafield tag="653" ind1=" " ind2="1"><subfield code="a">Knebelʹ, M. / (Marii͡a)</subfield></datafield><datafield tag="653" ind1=" " ind2="1"><subfield code="a">Stanislavsky, Konstantin / 1863-1938</subfield></datafield><datafield tag="653" ind1=" " ind2="0"><subfield code="a">Method acting</subfield></datafield><datafield tag="653" ind1=" " ind2="0"><subfield code="a">Theater rehearsals</subfield></datafield><datafield tag="653" ind1=" " ind2="6"><subfield code="a">Criticism, interpretation, etc</subfield></datafield><datafield tag="689" ind1="0" ind2="0"><subfield code="a">Stanislavskij, Konstantin Sergeevič</subfield><subfield code="d">1863-1938</subfield><subfield code="0">(DE-588)118616765</subfield><subfield code="D">p</subfield></datafield><datafield tag="689" ind1="0" ind2="1"><subfield code="a">Knebel', Marija O.</subfield><subfield code="d">1898-1985</subfield><subfield code="0">(DE-588)128707755</subfield><subfield code="D">p</subfield></datafield><datafield tag="689" ind1="0" ind2="2"><subfield code="a">The method</subfield><subfield code="g">Schauspielunterricht</subfield><subfield code="0">(DE-588)4387628-6</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="3"><subfield code="a">Rezeption</subfield><subfield code="0">(DE-588)4049716-1</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="4"><subfield code="a">Geschichte 2017-2022</subfield><subfield code="A">z</subfield></datafield><datafield tag="689" ind1="0" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="776" ind1="0" ind2="8"><subfield code="i">Erscheint auch als</subfield><subfield code="n">Online-Ausgabe</subfield><subfield code="z">978-1-350-20519-2</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">Digitalisierung BSB München - ADAM Catalogue Enrichment</subfield><subfield code="q">application/pdf</subfield><subfield code="u">http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034100601&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA</subfield><subfield code="3">Inhaltsverzeichnis</subfield></datafield><datafield tag="940" ind1="1" ind2=" "><subfield code="n">oe</subfield></datafield><datafield tag="940" ind1="1" ind2=" "><subfield code="q">BSB_NED_20230421</subfield></datafield><datafield tag="999" ind1=" " ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-034100601</subfield></datafield><datafield tag="942" ind1="1" ind2="1"><subfield code="c">792.09</subfield><subfield code="e">22/bsb</subfield><subfield code="f">0904</subfield><subfield code="g">471</subfield></datafield></record></collection> |
| id | DE-604.BV048835079 |
| illustrated | Illustrated |
| index_date | 2024-07-03T21:36:15Z |
| indexdate | 2024-07-10T09:47:19Z |
| institution | BVB |
| isbn | 9781350205178 9781350205185 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-034100601 |
| oclc_num | 1373963099 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | xvii, 229 Seiten Illustrationen 24,4 cm |
| psigel | BSB_NED_20230421 |
| publishDate | 2023 |
| publishDateSearch | 2023 |
| publishDateSort | 2023 |
| publisher | Bloomsbury Methuen Drama |
| record_format | marc |
| spelling | Carnicke, Sharon Marie 1949- Verfasser (DE-588)124386210 aut Dynamic acting through active analysis Konstantin Stanislavsky, Maria Knebel, and their legacy Sharon Marie Carnicke London ; New York ; Oxford ; New Delhi ; Sydney Bloomsbury Methuen Drama 2023 xvii, 229 Seiten Illustrationen 24,4 cm txt rdacontent n rdamedia nc rdacarrier The mystery on Leontyevsky Lane -- Behind closed doors -- The truth will out! -- The dynamic principles of performance -- Scene study through active analysis : Shakespeare -- Scene study through active analysis : Chekhov -- Rehearsing a play through active analysis : Johnson -- The system in active analysis -- Working with active analysis in the real world "Dynamic Acting through Active Analysis is a pragmatic guide for actors to the history and practice of Stanislavsky's last and most innovative approach to performance. Named "Active Analysis" by Maria Knebel, Stanislavsky's most influential protégé, it invites actors to explore the interactive dynamics in scenes by enacting them before memorizing lines. This process of analyzing texts actively taps actors' minds, bodies and spirits simultaneously, thus fostering dynamic acting. In Part 1 of the book, the author introduces the people who sacrificed much to create and keep the technique alive during the darkest era of Soviet repression. In Part 2, actors are offered a series of lessons on the fundamentals of Active Analysis and its applications to classic and contemporary plays. Herself a Russian speaker and a world-leading expert on Active Analysis, Sharon Marie Carnicke draws on memoirs, letters, eyewitness accounts, Knebel's 6 books and other Russian language textbooks to enrich this guide. The first practical guide for today's actors in English to the history and practice of Active Analysis, this much-needed book equips the reader with the artistic flexibility needed to work across a range of dramatic styles and across media" Stanislavskij, Konstantin Sergeevič 1863-1938 (DE-588)118616765 gnd rswk-swf Knebel', Marija O. 1898-1985 (DE-588)128707755 gnd rswk-swf Geschichte 2017-2022 gnd rswk-swf Rezeption (DE-588)4049716-1 gnd rswk-swf The method Schauspielunterricht (DE-588)4387628-6 gnd rswk-swf Method acting Theater rehearsals Stanislavsky, Konstantin / 1863-1938 / Criticism and interpretation Knebelʹ, M. / (Marii͡a) / Criticism and interpretation Knebelʹ, M. / (Marii͡a) Stanislavsky, Konstantin / 1863-1938 Criticism, interpretation, etc Stanislavskij, Konstantin Sergeevič 1863-1938 (DE-588)118616765 p Knebel', Marija O. 1898-1985 (DE-588)128707755 p The method Schauspielunterricht (DE-588)4387628-6 s Rezeption (DE-588)4049716-1 s Geschichte 2017-2022 z DE-604 Erscheint auch als Online-Ausgabe 978-1-350-20519-2 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034100601&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Carnicke, Sharon Marie 1949- Dynamic acting through active analysis Konstantin Stanislavsky, Maria Knebel, and their legacy The mystery on Leontyevsky Lane -- Behind closed doors -- The truth will out! -- The dynamic principles of performance -- Scene study through active analysis : Shakespeare -- Scene study through active analysis : Chekhov -- Rehearsing a play through active analysis : Johnson -- The system in active analysis -- Working with active analysis in the real world Stanislavskij, Konstantin Sergeevič 1863-1938 (DE-588)118616765 gnd Knebel', Marija O. 1898-1985 (DE-588)128707755 gnd Rezeption (DE-588)4049716-1 gnd The method Schauspielunterricht (DE-588)4387628-6 gnd |
| subject_GND | (DE-588)118616765 (DE-588)128707755 (DE-588)4049716-1 (DE-588)4387628-6 |
| title | Dynamic acting through active analysis Konstantin Stanislavsky, Maria Knebel, and their legacy |
| title_auth | Dynamic acting through active analysis Konstantin Stanislavsky, Maria Knebel, and their legacy |
| title_exact_search | Dynamic acting through active analysis Konstantin Stanislavsky, Maria Knebel, and their legacy |
| title_exact_search_txtP | Dynamic acting through active analysis Konstantin Stanislavsky, Maria Knebel, and their legacy |
| title_full | Dynamic acting through active analysis Konstantin Stanislavsky, Maria Knebel, and their legacy Sharon Marie Carnicke |
| title_fullStr | Dynamic acting through active analysis Konstantin Stanislavsky, Maria Knebel, and their legacy Sharon Marie Carnicke |
| title_full_unstemmed | Dynamic acting through active analysis Konstantin Stanislavsky, Maria Knebel, and their legacy Sharon Marie Carnicke |
| title_short | Dynamic acting through active analysis |
| title_sort | dynamic acting through active analysis konstantin stanislavsky maria knebel and their legacy |
| title_sub | Konstantin Stanislavsky, Maria Knebel, and their legacy |
| topic | Stanislavskij, Konstantin Sergeevič 1863-1938 (DE-588)118616765 gnd Knebel', Marija O. 1898-1985 (DE-588)128707755 gnd Rezeption (DE-588)4049716-1 gnd The method Schauspielunterricht (DE-588)4387628-6 gnd |
| topic_facet | Stanislavskij, Konstantin Sergeevič 1863-1938 Knebel', Marija O. 1898-1985 Rezeption The method Schauspielunterricht |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034100601&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT carnickesharonmarie dynamicactingthroughactiveanalysiskonstantinstanislavskymariaknebelandtheirlegacy |