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Kazan on Directing (Anglais) Broché – 12 janvier 2010

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Descriptions du produit


A Streetcar Named Desire (1947)
by Tennessee Williams

August 1947

A thought: Directing finally consists of turning Psychology into Behavior.

Theme: This is a message from the dark interior. This little twisted, pathetic, confused bit of light and culture puts out a cry. It is snuffed out by the crude forces of violence, insensibility, and vulgarity that existin our South — and this is the cry of the play.

Style: One reason a “ style,” a stylized production, is necessary is that Blanche’s memories, inner life, emotions are a tangible, actual factor.We cannot understand her behavior unless we see the effect of her past on her present behavior.

This play is a poetic tragedy. We are shown the final dissolution of a person of worth, who once had great potential, and who, even as she is defeated, as she is destroyed, has a worth exceeding that of the “healthy,” coarse-grained figures who kill her.

Blanche and Don Quixote are both emblems of the death of an old culture. This is a poetic tragedy, not a realistic, naturalistic one. The acting must be styled, not in the obvious sense. (Say nothing about this to the producer and actors.) But you will fail unless you find this kind of poetic realization for these people’s behavior.

Blanche is a social type, an emblem of a dying civilization, making its last curlicued and romantic exit. All her behavior patterns are those of the dying civilization she represents. In other words, her behavior is social. Therefore find social modes! This is the source of the play’s stylization and the production’s style and color. Likewise, Stanley’s behavior is social too. It is the basic animal cynicism of today. “ Get what’s coming to you! Don’t waste a day! Eat, drink, get yours!” This is the basis of his stylization, of the choice of his props. All props should be stylized: They should have a color, shape, and weight that spell style.

An effort to put poetic names on scenes to edge me into stylizations and physicalizations. Try to keep each scene in terms of Blanche.

1. Blanche comes to the last stop at the end of the line.
2. Blanche tries to make a place for herself.
3. Blanche breaks them [Stanley and Stella] apart, but when they come together, Blanche is more alone than ever!
4. Blanche, more desperate because more excluded, tries the
direct attack and creates the enemy who will finish her.
5. Blanche finds that she is being tracked down for the kill. She must work fast.
6. Blanche suddenly finds Mitch, suddenly makes for herself the only possible, perfect man for her.
7. Happy only for a moment, Blanche comes out of the bathroom to find that her doom has caught up with her.
8. Blanche fights her last fight. Breaks down. Even Stella deserts her.
9. Blanche’s last desperate effort to save herself by telling the whole truth. The truth dooms her.
10. Blanche escapes out of this world. She is brought back by Stanley and destroyed.
11. Blanche is disposed of.

Find an entirely different character, a self-dramatized and selfromanticized character for Blanche to play in each scene, as if she were playing eleven different people. This will give the play the kind of changeable and shimmering surface it should have. And all these eleven self-dramatized and romantic characters should derive from the romantic tradition of the Pre-Bellum South. For example, in Scene 2 she is “Gay Miss Devil-May-Care.”

The style — the real deep style — consists of one thing only: to find behavior that’s truly social, significantly typical, at each moment. It’s not so much what Blanche has done, it’s how she does it — with such style, grace, manners, old-world trappings and effects, props, tricks, swirls, etc., that they seem anything but vulgar.

And for the other characters, too, you face the same problem, to find the Don Quixote character for them. Stylized acting and direction is to realistic acting and direction as poetry is to prose. This is a poetic tragedy, not a realistic or a naturalistic one. So you must find a Don Quixote scheme of things for each.

A kind of naïveté, even slowness. He means no harm. He wants to knock no one down. Only he doesn’t want to be taken advantage of. His code is simple and simple-minded. He is adjusted — now. Later, as the power of his penis dies, so will he, the trouble will come later, the “problems.”

But what’s the chink in his armor now, the contradiction? Why does Blanche get so completely under his skin? Why does he want to bring Blanche, as he brought Stella, down to his level? It’s as if he said: “ I know I haven’t got much, but no one has more and no one’s going to have more.” He’s the hoodlum aristocrat, and he’s deeply dissatisfied, deeply hopeless, deeply cynical. The physical immediate pleasures, if they come in a steady enough stream, quiet his resentments, as long
as no one else gets more than he does. If they do, then his bitterness spills out and he trashes the pretender. But he can’t seem to do anything with Blanche, so he levels her with his sex. He pulls her down and crushes her.

One of the important things about Stanley is that Blanche would wreck his home. Blanche is dangerous. She is destructive (like Stella Adler). Soon she would have him and Stella fighting. He’s got the things the way he wants them around there, and he does not want them upset by a phony, corrupt, sick, destructive woman. This makes Stanley right! Are we going into the era of Stanley? He may be practical and right, but what the hell does it leave us? Make this a personal objective
characterization for Marlon Brando. Choose Marlon’s objects. The things he loves and prizes, all sensuous and sensual: the shirt, the cigar, the beer (how it’s poured and nursed).

Stanley is exactly like you in some ways. He’s supremely indifferent to everything except his own pleasure and comfort. He is marvelously selfish, a miracle of sensuous self-centeredness. He builds a hedonist life, and fights to the death to defend it — but finally it is not enough to hold Stella. And this philosophy is not successful even for him — because every once in a while the silenced, frustrated part of Stanley breaks loose in unexpected and unpredictable ways and we suddenly see, as in a burst of lightning, his real frustrated self. Usually his frustration is worked off by eating a lot, drinking a lot, gambling a lot, fornicating a lot. He’s going to get very fat later. He’s desperately trying to squeeze out happiness by living by ball and jowl, and it really doesn’t work because it simply stores up violence until every bar in the nation is full of Stanleys ready to explode. He’s desperately trying to drug his senses, overwhelming them with a constant round of sensation so that he will feel nothing else.

For Stanley sex goes under a disguise. Nothing is more erotic and arousing to him than “ airs.” “ She thinks she’s better than me. I’ll show her.” Sex equals domination, anything that challenges him — like calling him “ common ” — arouses him sexually.

In the case of Brando, the question of enjoyment is particularly important. Stanley feeds himself. His world is hedonistic. But what does he enjoy? Sex equals sadism. He conquers with his prick. But objects too: drink, conquest in poker, food, sweat, exercise. But enjoy. Not just cruelly unpleasant, but he never matured, never grew up from the baby who wants a constant nipple in his mouth. He yells when it is taken away.

Stanley has got things his way. He fits into his environment. The culture and the civilization, even the neighborhood, the food, the drink, etc., are all his way. And he’s got a great girl, with just enough hidden neuroticism for him — yet not enough to threaten a real fight. Also, their history is right: He conquered her. Their relationship is right: She waits up for him. Finally, God and Nature gave him a fine sensory apparatus . . . he enjoys! The main thing the actor has to do in the early scenes
is make the physical environment of Stanley, the props, come to life.

Stanley is deeply indifferent. When he first meets Blanche, he doesn’t really seem to care if she stays or not. Stanley is interested in his own pleasures. He is completely self-absorbed to the point of fascination. To physicalize this: He has a most annoying way of being preoccupied — or of busying himself with something else while people are talking with him, at him it becomes. Example, first couple of pages, Scene Two.

Stanley thinks Stella is very badly brought up. She can’t do any of the ordinary things — he had a girl before her who could really cook, but she drank an awful lot. Also she, Stella, has a lot of airs, most of which he’s knocked out of her by now, but which still crop up. Emphasize Stanley’s love for Stella. It is rough, embarrassed, and he rather truculently won’t show it. But it is there. He’s proud of her. When he’s not on guard and looking at her, his eyes suddenly shine. He is grateful too, proud, satisfied. But he’d never show it, demonstrate it.

As a character, Stanley is most interesting in his contradictions. His soft moments, his sudden pathetic little tough boy tenderness toward Stella. In Scene Three he cries like a baby. Somewhere in Scene Eight he almost makes it up with Blanche. In Scene Ten he does try to make it up with her— and except for her doing the one thing that most arouses him, both in anger and sex, he might have.

The one thing that Stanley can’t bear is someone who thinks that he or she is better than he is. His only way of explaining himself— he thinks he stinks— is that everyone else stinks. This is symbolic. True of our National State of Cynicism. No values. There is nothing to command his loyalty. Stanley rapes Blanche because he has tried and tried to keep her down to his level. This way is the last. For a moment he succeeds. And then in Scene Eleven, he has failed!

Excerpted from Kazan on Directing by Elia Kazan Copyright © 2009 by Frances Kazan. Excerpted by permission of Knopf, a division of Random House, Inc. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

From the Hardcover edition.

Revue de presse

“To read this book is to sit with Kazan as he talks about his work. You feel his energy, devotion, and openness. You are given rare and fascinating access to the insights and techniques of a great director.” —Sidney Lumet

“Kazan stands alone in his work both on stage and screen. This book provides an excellent opportunity to deepen our understanding of Kazan’s achievements.” —Alec Baldwin

“A fascinating account of how a master director works. . . .  It is also, quite simply, a good read.” —The New Criterion
“A wonderfully conflicted yet curiously confident self-portrait of a great director.” — Los Angeles Times
“Unusually entertaining . . . It’s not just his insights, it’s the incisive way he expresses them.” —New York Observer

“This is Kazan the professional speaking, a giant of the Method spilling his secrets. . . . An indispensable resource for anyone hoping to understand the direction of actors and the differences between stage and screen. . . . Revelatory and instructive.” —Directors Guild of America Quarterly
Kazan on Directing displays Kazan’s interpretive genius at work, analyzing each major play and movie, working with writers on scripts and actors on interpretations. . . . Invaluable.” —The Providence Journal
“[Kazan] may be the most influential director of his time after Hitchcock. . . . If only every living American director would read this..” —The Buffalo News
“Remarkable. . . . A portrait of the artist in his own words. . . . A marvelous dissection and explanation of how Kazan brought to life some of America’s greatest pieces of drama, and at what personal price.” —Eric Lax, truthdig.com
“Elia Kazan possessed a treasure trove of knowledge about acting and storytelling. What a gift it is to have his ideas between covers in Kazan on Directing—a wonderful compilation of Kazan’s shrewd insights and vast experience.” —George Stevens, Jr.
“Kazan has been called the greatest actor’s director. In this illuminating book he details his methods. A must-read for everyone in show business.” —Carroll Baker
“[This] riveting book is Kazan talking to us—pushing us, lifting us, motivating us. Every student of stage and film should read it.” —Karl Malden
“[Kazan’s] experience as an actor in the Group Theatre helped train him to become one of the greatest directors of actors in the twentieth century. This amazing book demonstrates his rich understanding of the actor as an artist.”  —Ellen Adler, Stella Adler Studio of Acting
“Astounding. . . . I have never, ever read anything as clear and personal and detailed (not to mention well-written) as this book. . . . I devoured it.” —André Bishop, Artistic Director, Lincoln Center Theater

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9 internautes sur 10 ont trouvé ce commentaire utile 
Learn from one of the best 11 août 2009
Par Celeste Thoms - Publié sur Amazon.com
Format: Relié
One of the best directors in film and theatre teaching what he knows. This book is nothing like most directing books that talk about various directing techniques. It's also not a book where someone else writes about Kazan directing. This book is much deeper than that. They are the notes that Kazan wrote himself and used for his plays and his movies. It's a great insightful look into his process and how he breaks down a script. You really get into his head. It's like having Kazan as a personal mentor giving you practical applications you can use, and you know they work.
6 internautes sur 7 ont trouvé ce commentaire utile 
Essential to All Directors, Actors, Writers & Artists 6 juillet 2010
Par A. Savant - Publié sur Amazon.com
Format: Broché Achat vérifié
Kazan On Directing is a must read for any director, writer or actor. It should be read again and again, serving not only as an historical account and insight into some of the greatest plays and films ever made, but as a tool for theater and film artists on how the greats work in this business. It is serves as a excellent example of how an artist's self examination, honest criticism and perspective on his or her work is essential to growth and excellence. Couldn't recommend this book more to anyone in the arts.
Tony Savant
5 internautes sur 6 ont trouvé ce commentaire utile 
Terrific book about Kazan's method for eliciting great performances from actors. Must read for directors! 11 mars 2010
Par A. Silver - Publié sur Amazon.com
Format: Broché Achat vérifié
Order this book. You won't be disappointed. It's like sitting in a directing class with the master. You get to read his personal notes and inner feelings about working with Brando, Leigh, T. Williams, A. Miller, Malden, Steiger and more! Not just memories from an older Kazan, but his thoughts while in rehearsal or on the set. Anyone who works with actors or aspires to direct, should read this wonderful book. Definitely five stars.
2 internautes sur 2 ont trouvé ce commentaire utile 
Great for film lovers, and filmmakers! 31 janvier 2013
Par C. Santas - Publié sur Amazon.com
Format: Broché Achat vérifié
Rarely has a book on film said so much in so little space. First, it is mostly Kazan's voice we hear. Secondly, the book is finely organized, offering editorial comments and questions,letters from Kazan countering with his lively answers to these and elaborating on his views, separate sections as director of stage and film (the book actually comes in two parts),and the most fascinating articles/speeches Kazan ever gave, as, for instance, an address by Kazan delivered ar Wesleyan University in 1973, which covers just about everything about directing under the sun. Kazan is a "no holds barred" commentator of his own work, relating his experiences in life and in film in sometimes scorching language, managing to be entertaing and completely outspoken. There are hidden treasures everywhere about filmmaking that will make the film buff and filmmaker alike salivate with pleasure. Not to forget here a foreward by John Lahr,a Preface by Martin Scorsese, and an illuminating Introduction by Robert Cornfield, which contains the best remarks on "method acting" I have ever seen. All in all, a good read, worth all the pennies you spend on it.
1 internautes sur 1 ont trouvé ce commentaire utile 
Amazing Book! - Both amazingly inspirational, passionate and at the same time very precise and rational 3 décembre 2014
Par Mindia Chlaidze - Publié sur Amazon.com
Format: Broché Achat vérifié
The Book is amazing! for a number of reasons: first of all the great author. Despite some controversy over 1952's affair Kazan remains one of the best American directors ever... Just like another great director Sidney Lumet comments on the book - reading it really feels like having a deep interesting conversation with the author, that alone is one hell of a rare treat for books of this type. It is amazing and very useful how Kazan treats material a play or a screenplay, his amazing quest for certainty and precision, how he breaks the material down to find a basic idea - a spine, and how he explains the importance of finding this spine and how all the rest of the things like acting, lighting and generally everything comes from and should be connected to this "Spine". The other amazingly important bit about the author and this book is that he is very critical first of all to himself. He would sit and watch a show in a theater and think and capture it's mistakes and then analyse those and if they lead to him the director he doesn't ignore it on the contrary he goes deeper and draws the exact conclusions why and how this or that mistake has been made and how he should avoid them in the future. He is very rational, adequate and precise but at the same time amazingly passionate, he works with actors knowing each of them amazingly well for what they really are and what they are capable of. In other words he explains and shows the enormous importance of good Casting. I came across this book by watching Francis Ford Coppola's interview where he mentions this book and how the approach of Kazan in treating the material helped him create his big notebook for Godfather. He states that this notebook was so dense and full of important details for each scene that he practically didn't need a script on the set. Coppola uses the same method as Kazan for example for the scene: what the scene is about?, what he wants to express with it?, how to express it the best way? and what are the risks? and etc. this structural approach to the material is very useful both for beginner filmmakers and professionals. Book doesn't have the setups and how to do recipes it has a lot more. It gives the most important ingredient of all on how to find, formulate and then express the general idea, It gives clues on how to find the inspiration and I guess that is much more important than any instructions. This book is amazingly inspirational and passionate and at the same time superbly precise and rational - I guess the unity of these elements underlines most the significance of this book and the significance of the body of work of this great visionary who has influenced a lot of great directors such as Nicholas Ray, Sindey Lumet, Martin Scorcese, Francis Ford Coppola and many more
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