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Sanford Meisner on Acting [Anglais] [Broché]

Sanford Meisner , Dennis Longwell , Sydney Pollack
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Description de l'ouvrage

12 juillet 1987 Vintage
This book, written in collaboration with Dennis Longwell, follows an acting class of eight men and eight women for fifteen months, beginning with the most rudimentary exercises and ending with affecting and polished scenes from contemporary American plays. Throughout these pages Meisner is delight--always empathizing with his students and urging them onward, provoking emotion, laughter, and growing technical mastery from his charges. With an introduction by Sydney Pollack, director of "Out of Africa" and "Tootsie," who worked with Meisner for five years.

"This book should be read by anyone who wants to act or even appreciate what acting involves. Like Meisner's way of teaching, it is the straight goods."--Arthur Miller

"If there is a key to good acting, this one is it, above all others. Actors, young and not so young, will find inspiration and excitement in this book."--Gregory Peck

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Sanford Meisner on Acting + Stella Adler: The Art of Acting + Acting in Film: An Actor's Take on Movie Making
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Détails sur le produit

  • Broché: 272 pages
  • Editeur : Vintage; Édition : 1 (12 juillet 1987)
  • Collection : Vintage
  • Langue : Anglais
  • ISBN-10: 0394750594
  • ISBN-13: 978-0394750590
  • Dimensions du produit: 5,1 x 8 x 0,5 cm
  • Moyenne des commentaires client : 5.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
  • Classement des meilleures ventes d'Amazon: 25.233 en Livres anglais et étrangers (Voir les 100 premiers en Livres anglais et étrangers)
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At first glance, except for the twin beds, the room resembles any number of small classrooms almost anywhere in the country. Lire la première page
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Couverture | Copyright | Table des matières | Extrait
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5.0 étoiles sur 5 Indispensable ! 1 février 2010
Par Sidiem
Sanford Meisner quand tu nous tiens! Un must pour tous ceux qui sont intéressés par le théâtre ou le cinéma.
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5.0 étoiles sur 5 Sanford Meisner On Acting 10 mai 2000
Par Christon Basham - Publié sur
I am currently studying the craft of acting at one of the 3 year professional acting acadamies here in LA. I very much enjoyed reading this book and have done so at this point several times. I would most highly recommend it to anyone thinking about or currently studying the craft of acting.
In the first chapter (Setting The Scene: Duse's Blush), we are giving a chronology of Meisners life and how he came to be such a great and beloved teacher. It is also in this first chapter that Meisner recounts the story of Elenora Duse, a legendary Italian actress who played the role of Magda in Hermann Sundermanns Heimat. In the first scene of this play, as the story goes, she is a young girl that has an affair with a guy from the same village, and she has a child by him. Twenty-five years later, or thereabouts, she comes back to visit her family who live in this town, and her ex-lover comes to call on her. She accepts his flowers and they sit and talk. All of a sudden the actor realizes that she is blushing, and it gets so bad that she drops her head and hides her face in embarrassment. Although we learn that this does not happen every performance, it is this blush that is the epitome of living truthfully under imaginary circumstances. This is Meisners definition of all good acting.
The foundation of acting, is the reality of doing. It is this basic premise that is the spine of this book of exercises intended to bring the actor closer to their emotional self. It is an approach that is based on bringing the actor away from the intellectualizing of character analysis back to his emotional impulses and to acting that is firmly rooted in the instinctive. Through preparation, the actor is bought to a full state of emotional aliveness for those first precious moments on the stage at the beginnings of any scene. It would be impossible to escape the powerful impact of emotion or the importance of being able to realize and use effectively this impact in your performance.
Once those first precious moments of emotional aliveness that the actor has prepared for have elapsed however, the actor must be willing to enter into a state of, what Constantine Stanislovsky refers to as public solitude (as opposed to public exhibitionism). A complete surrendering of ego and willingness to make oneself vulnerable to the ultimate revealing of truth in who we are in the context of the words and circumstance written and demanded of the actor by the playwright.
Everything in acting is, of course, a kind of heightened intensified reality but it is based on one that is fully justified. Good acting isn't just the emotionless reciting of lines of text as mindless chatter. It is responding truthfully to the other person or persons on the stage. To fill words with the truth of your emotional life Meisner suggest that you must learn text coldly without expression in a completely neutral way. This learning should than be taken further through repetition mixed with a distracting independent activity. It is this repetition coupled with a distracting independent activity that takes the actor out of the intellectual mind into that of the of instinctual. That is, not thinking but simply acting and reacting honestly to what's happening on stage in every moment. But again, in order to get out of your head and into the emotional life of the instinctual, you have to know the lines so well that you don't even have to consciously think about them. As the logic goes; if you don't know your lines cold you can not get to the emotions. If you can't get to the emotions than you are nowhere near the heart of your instincts and can therefore not act or react honestly. </font></p> Learn lines and pick up impulses. This is what Meisner suggest is crucial if you are to always be in the moment of a scene honestly and most importantly, realistically. It is the truth of your instincts that is the very root of the foundation from which you must build not only your character, but also all of the honest emotional actions and reactions asked of you on stage. Living the emotional life of the character truthfully under imaginary circumstances. It is this emotional honesty and openness that will most profoundly move you and the audience for the enjoyment of you both.
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5.0 étoiles sur 5 The reality of good acting 21 février 2003
Par Javier Galito-Cava - Publié sur
I agree... Sandford Meisner is by far one of the best kept secrets in acting. I stuided the Meisner Technique approach to acting with the wonderful Rachael Adler and it has absolutely changed me. Not just my acting but my life as well. This is a MUST HAVE for ANY actor. Whether this technique is right for you or not, the information you will get from this book will most defenitely help you understand what makes good acting.
20 internautes sur 22 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Great book for actors exploring what works best for them 1 janvier 2003
Par Un client - Publié sur
I did a 1/2 semester project on Meisner's acting techniques for an acting class (we had to compare and contrast another technique with the Stanislavski technique most of us are familiar with). at the conservatory I attend, and found this book answered just about all my questions. It was an interesting read, but from a research standpoint, would have been easier to use had it not been in journal style. However, I have come acrossed nothing better as a resource exclusively dealing with Meisner. Read something about the Group Theatre as well, which may just lead to study of some techniques of some of Meisner's contemporaries and help you to combine styles to find your own unique approach to the art.
19 internautes sur 22 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 The Reality of Doing is just that, the reality of doing. 7 novembre 2001
Par A. M. Rosa - Publié sur
I would have to say that this is one of the best books on acting around. Although I am too young to have ever studied with Meisner, I am a student of his technique, and I think that this book helps give you a brief insight into what this extraordinary man had in mind. He professes a no nonsense approach to acting, "The reality of doing," that will truly benefit an aspiring artist. Meisner's belief of actually feeling something as opposed to faking something seems self evident, but was revolutionary for his time. Why substitute a response, when you can actually experience the emotion. If you are supposed to be angry actually get angry, don't fake angry. I do however have to agree with the other reviewers in saying that a book is no substitute to actually finding a good teacher with a good core group of students to work through the technique. You come to acting through feeling it, not intellectualizing it. In that you need to actually do it to feel it. It takes a long time, a lot of discipline and perserverance, but it is an extremely rewarding pursuit. The book helps as a guide post, but it is by no means that road that you will need to travel to develop your art.
As with any great teacher, Meisner's lessons can be applied to more than just the subject material. There are several Life's Lessons in this book, and I would even recommend it to people who are not actors or students of theater.
18 internautes sur 21 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 hard to comprehend w/out meisner training 16 août 2002
Par Un client - Publié sur
this is a good book with some good points to make. if one has any experience with the meisner technique it might even be very helpful. unfortunatly, i have never had any training in meisner and found the book hard to follow and uninteresting. there were some good basic lessons and anecdotes sprinkled throughout, but with out knowing first hand about the exercises i got very little out of reading about the experiences and exercises of the students. i would not recommend this to actors who have not taken at least some basic meisner classes.
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