Review
One has to hope that this is the first in a series of books Carnicke will give us to clarify and enrich our understanding of the major movement in modern acting. Highly recommended for actors and directors.
–Dramatics, September 2003Carnicke's book has grown in influence with the passage of time. It is praised in the recent eighth edition of Robert Benedetti's
The Actor at Work. Ed Hooks, author of
Acting Strategies for the Cyber Age and
The Ultimate Scene and Monologue Sourcebook, says Carnicke's book is a must read for actors because she skillfully draws the line between acting theory as practiced by Constantin Stanislavsky, and 'method' as practiced by Lee Strasberg of the Actor's Studio. I learned of
Focus from a colleague, Sarah Dixon, an excellent acting teacher who treats Carnicke's insights into Stanislavsky with the devout worship one normally sees in responses to religious works. With such support,
Stanislavsky in Focus is on its way to becoming a classic for serious actors.
–Dramatics, September 2003[Carnicke's] expertise is evident in the glossary, which gives clear and specific definitions of key Stanislavsky terms that many acting books treat with an unfortunate lack of precision. The result is an authoritative and meticulously researched book that deserves a primary place on the bookshelves of all theatre artists.
–Dramatics, September 2003[
Stanislavsky in Focus] is must-read for actors, a keeper for the bookshelf. In it, Ms. Carnicke skillfully draws the line between acting theory as practiced by Constantin Stanislavsky, and method as practiced by Lee Strasberg of the Actor's Studio..
–Newsletter and Articles by Ed HooksCarnike provides the best available overview of Stanislavsky's work...She knows more about Stanislavsky, his development as a teacher, and the evolution of his theories than any other theatre professional living today. She has made the man her life's work.
–Ed Hooks, Acting Strategies for the Cyper Age
About the Author
Sharon Marie Carnicke is widely known for her groundbreaking work on Russian acting techniques, her innovative examination of film acting, and her recent collaboration with computer scientists on acting’s place in virtual reality. With a Ph.D. in Russian from Columbia University and professional performance experience in New York, Moscow and Los Angeles, she speaks to theatre practitioners and scholars alike. She is currently Professor of Theatre and Slavic Languages at the University of Southern California and the leader of a workshop on Active Analysis (A/ACT) in Los Angeles.
--This text refers to the
Hardcover
edition.
