My Life In Art

Häftad, Engelska, 2016

Av Constantin Stanislavski

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No one has had a greater influence on acting as we know it than Stanislavski. His 'method' - or interpretations of it - has become the central force determining almost every performance we see on stage or screen. In My Life in Art Stanislavski recalls his theatrical career, from his early experiences in Rubinstein's Russian Musical Society to his final triumphs with Chekhov at the Moscow Art Theatre. His vivid accounts of his own most famous productions including 'The Seagul' and 'Uncle Vanya' are interspersed with anecdotes of the famous - of Kommisarjevksy, Tolstoy, Gorky, and of the Moscow visit of Isadora Duncan and Gordon Craig.

Produktinformation

Utgivningsdatum2016-10-20
Mått140 x 218 x 40 mm
Vikt640 g
FormatHäftad
SpråkEngelska
SerieBloomsbury Revelations
Antal sidor488
FörlagBloomsbury Publishing PLC
ISBN9781474299657

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Teater inom Kultur

Constantin Stanislavski (1863-1938) was a Russian director who sought 'inner realism' by insisting that his actors find the truth within themselves and 'become' the characters they portrayed. His work brought international fame to the Moscow Art Theatre, which he had co-founded with Vladimir Nemirovich-Danchenko in 1897. During his early years at the Moscow Art Theatre, he directed the first productions of Chekhov's Uncle Vanya (1899), Three Sisters (1901) and The Cherry Orchard (1904) as well as a series of celebrated versions of Shakespeare. Stanislavski toured America with the company in 1923. He is the author of An Actor Prepares, Building A Character and Creating A Role, all published in the Bloomsbury Revelations series.

I Old RussiaII Family LifeIII Struggles with ObstinacyIV Value of Childish ImpressionsV Play DaysVI Our Home TheatreVII A Suddenly Discovered TalentVIII Russian Dramatic SchoolsIX The Little TheatreX The ConservatoryXI Anton RubensteinXII Attempts in OperettasXIII The OperaXIV The Mamontov CircleXV The Society of Art and LiteratureXVI Fundamentals of Art MaterialXVII MarriageXVIII Character Parts XIX Genius of Director Kronek XX First Experience as a DirectorXXI Lev TolstoyXXII “Uriel Acosta”XXIII “The Polish Jew” XXIV The Professional TheatreXXV New Stage EffectsXXVI Tommaso Salvini The ElderXXVII OthelloXXVIII Meeting with Nemirovich-DanchenkoXXIX My summer in PushkinoXXX The Founding of the Moscow Art TheatreXXXI The Productions of the Moscow Art TheatreXXXII The Line of the FantasticXXXIII Symbolism and ImpressionismXXXIV “The Seagul” XXXV “Uncle Vanya” XXXVI The Journey to the Crimea in 1900XXXVII “The Three Sisters”XXXVIII The First Journey to PetrogradXXXIX Journeys to the ProvincesXL The Line of Social and Political MoodsXLI “The Power of Darkness” and “The Enemy of the People”XLII Julius CæsarXLIII The Last Year with ChekhovXLIV “The Cherry Orchard”XLV The Studio on PovarskayaXLVI Our First Journey AbroadXLVII The Cabbage Parties XLVIII The Beginnings of My SystemXLIX Leopold Sulerjitsky L “ The Drama of Life” LI DisappointmentsLII “The Life of Man”LIII A Visit to Maeterlinck LIV Isadora Duncan and Gordon CraigLV The First StudioLVI The Founding of the First StudioLVII “A Month in the Country”LVIII The WarLIX The Second RevolutionLX The Opera StudioLXI My Life in ArtAppendicesList of the Productions of the Alexeiev CircleList of the Productions of the Society of Art and LiteratureList of the Productions of the Moscow Art TheatreIndex