Beyond Stanislavsky takes the reader through a course in the new system, complete with exercises. Infused with the author's personal experience this is never a set of dry instructions, but a vital engagement with Stanislavsky's mature ideas on actor training.
--This text refers to the
Paperback
edition.
Book Description
Editorial Reviews
Review
Her book is a lucid and detailed account...(that) offers a clearly written practical guide to its subject. Both teachers and students will benefit because Merlin's appoach is neither prescriptive nor dogmatic...a sharing of experience and crucial insights into what can be gained from undertaking a rigourous programme of well-focused exercises. This is a provocative, inspirig and engrossing account of one actor's geographical, psychological and professional voyage of discovery. Aleks Sierz, New Theatre Quarterly, Spring 2002.
Her book is a lucid and etailed account...(that) offers a clearly written practical guide to its subject. Both teachers and students will benefit because Merlin's appoach is neither prescriptive nor dogmatic...a sharing of experience and crucial insights into what can be gained from undertaking a rigourous programme of well-focused exercises. This is a provocative, inspirig and engrossing account of one actor's geographical, psychological and professional voyage of discovery. Aleks Sierz, New Theatre Quarterly, Spring 2002.
Her book is a lucid and detailed account...(that) offers a clearly written practical guide to its subject. Both teachers and students will benefit because Merlin's appoach is neither prescriptive nor dogmatic...a sharing of experience and crucial insights into what can be gained from undertaking a rigourous programme of well-focused exercises. This is a provocative, inspirig and engrossing account of one actor's geographical, psychological and professional voyage of discovery. Aleks Sierz, New Theatre Quarterly, Spring 2002. --This text refers to the Paperback edition.
Her book is a lucid and etailed account...(that) offers a clearly written practical guide to its subject. Both teachers and students will benefit because Merlin's appoach is neither prescriptive nor dogmatic...a sharing of experience and crucial insights into what can be gained from undertaking a rigourous programme of well-focused exercises. This is a provocative, inspirig and engrossing account of one actor's geographical, psychological and professional voyage of discovery. Aleks Sierz, New Theatre Quarterly, Spring 2002.
Her book is a lucid and detailed account...(that) offers a clearly written practical guide to its subject. Both teachers and students will benefit because Merlin's appoach is neither prescriptive nor dogmatic...a sharing of experience and crucial insights into what can be gained from undertaking a rigourous programme of well-focused exercises. This is a provocative, inspirig and engrossing account of one actor's geographical, psychological and professional voyage of discovery. Aleks Sierz, New Theatre Quarterly, Spring 2002. --This text refers to the Paperback edition.
About the Author
Bella Merlin is a professional actor and a teacher of actor-training, principally at the University of Birmingham. She promotes regular Summer Schools in psycho-physical acting featuring Russian practitioners.
--This text refers to the
Paperback
edition.
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Most Helpful Customer Reviews
3 of 3 people found the following review helpful:
5.0 out of 5 stars
An excellent manual for teachers,
By A Customer
This review is from: Beyond Stanislavsky: A Psycho-Physical Approach to Actor Training (Theatre Arts (Routledge Hardcover)) (Hardcover)
First of all, it should be pointed out that this excellent manual adhers to the principles of the Royal Ballet School in London. Many different aspects are being dealt with, for instance "The importance of stance", "Comments on the teaching of boys", "Physical factors". One very useful chapter is called "The development of children with youthful skeletal age". This book is aimed at teachers of beginners and intermediate students and they ought to study it carefully. It is very amply illustrated, the photographs are posed for by children of the appropriate age. One of the final chapters "The build-up of a class" in which each step is painstakingly explained, should be read, re-read and then read again by the teacher in order to convey the idea of perfect execution to the pupil.
3.0 out of 5 stars
Good Refresher,
By
This review is from: Beyond Stanislavsky: The Psycho-Physical Approach to Actor Training (Paperback)
I enjoyed this book, but I also thought that this was review for the experienced actor. Though it does have some new ideas, anyone who has had experince in movement or advanced acting will understand and recognize these techniques. I think it's hard to write an acting text without sounding a bit superior. She kept referring to her schooling as "drama school". I think it's good for people to read as a refresher course
1 of 2 people found the following review helpful:
5.0 out of 5 stars
An excellent manual for teachers,
By A Customer
This review is from: Beyond Stanislavsky: A Psycho-Physical Approach to Actor Training (Theatre Arts (Routledge Hardcover)) (Hardcover)
First of all, it should be pointed out that this excellent manual adhers to the principles of the Royal Ballet School in London. Many different aspects are being dealt with, for instance "The importance of stance", "Comments on the teaching of boys", "Physical factors". One very useful chapter is called "The development of children with youthful skeletal age". This book is aimed at teachers of beginners and intermediate students and they ought to study it carefully. It is very amply illustrated, the photographs are posed for by children of the appropriate age. One of the final chapters "The build-up of a class" in which each step is painstakingly explained, should be read, re-read and then read again by the teacher in order to convey the idea of perfect execution to the pupil.
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Inside This Book
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First Sentence:
When it comes to acting, there are many myths about methods and suspicions about systems. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
limitless attention, inner improvisation, terrifying unforeseen, inner motive forces, creative passivity, active analysis, cerebral analysis, creative individuality, affective memory, dynamic meditation, inner adaptation, free improvisation, inner action, total act, dual consciousness, stage emotions, acting process, imaginary mirror Key Phrases - Capitalized Phrases (CAPs): (learn more)
Active Analysis, Michael Chekhov, Method of Physical Actions, The Tempest, Scenic Movement, Psychological Gesture, Teatr Laboratorium, Moscow Art Theatre, John the Baptist, Kamotskaya's Actor-Training, The Great Divorce, Three People, Albert Filozov, Mark Babych, Uncle Vanya, Porfiry Petrovich, The Seagull, Act One, David Mamet, Katya Kamotskaya, State Institute of Cinematography, Summary of Key Components, Swan Theatre, William James, Socialist Realism New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Back Cover | Surprise Me!
When it comes to acting, there are many myths about methods and suspicions about systems. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
limitless attention, inner improvisation, terrifying unforeseen, inner motive forces, creative passivity, active analysis, cerebral analysis, creative individuality, affective memory, dynamic meditation, inner adaptation, free improvisation, inner action, total act, dual consciousness, stage emotions, acting process, imaginary mirror Key Phrases - Capitalized Phrases (CAPs): (learn more)
Active Analysis, Michael Chekhov, Method of Physical Actions, The Tempest, Scenic Movement, Psychological Gesture, Teatr Laboratorium, Moscow Art Theatre, John the Baptist, Kamotskaya's Actor-Training, The Great Divorce, Three People, Albert Filozov, Mark Babych, Uncle Vanya, Porfiry Petrovich, The Seagull, Act One, David Mamet, Katya Kamotskaya, State Institute of Cinematography, Summary of Key Components, Swan Theatre, William James, Socialist Realism New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Back Cover | Surprise Me!
Citations (learn more)
This book cites 39
books:
See all 39 books this book cites
1
book
cites this book:
- An Actor Prepares by Constantin Stanislavski on 9 pages
- To the Actor by Michael Chekhov on 6 pages
- Crime And Punishment by Fyodor Dostoyevsky on 5 pages
- Stanislavsky Directs by Nikola-I Mikha-Ilovich Gorchakov on 4 pages
- Creating A Role by Constantin Stanislavski on 4 pages
See all 39 books this book cites
- Teaching Beginning Ballet Technique by Gayle Kassing in Back Matter
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