Respect for ActingRespect for Acting "This fascinating and detailed book about acting is Miss Hagen's credo, the accumulated wisdom of her years spent in intimate communion with her art. It is at once the voicing of her exacting standards for herself and those she [taught], and an explanation of the means to the end." --Publishers Weekly "Hagen adds to the large corpus of titles on acting with vivid dicta drawn from experience, skill, and a sense of personal and professional worth. Her principal asset in this treatment is her truly significant imagination. Her 'object exercises' display a wealth of detail with which to stimulate the student preparing a scene for presentation." --Library Journal "Uta Hagen's Respect for Acting . . . is a relatively small book. But within it, Miss Hagen tells the young actor about as much as can be conveyed in print of his craft." --Los Angeles Times "There are almost no American actors uninfluenced by Uta Hagen." --Fritz Weaver "This is a textbook for aspiring actors, but working thespians can profit much by it. Anyone with just a casual interest in the theater should also enjoy its behind-the-scenes flavor." --King Features Syndicate |
Contents
Introduction | 3 |
Concept | 11 |
Identity | 22 |
Substitution | 34 |
Emotional Memory | 46 |
Sense Memory | 52 |
The Five Senses | 60 |
Thinking | 65 |
Outdoors | 124 |
Conditioning Forces | 129 |
History | 134 |
Character Action | 139 |
PART THREE The Play and the Role | 143 |
Introduction | 145 |
First Contact with the Play | 147 |
The Character | 152 |
Walking and Talking | 69 |
Improvisation | 73 |
Reality | 75 |
contents PART TWO The Object Exercises | 79 |
Introduction | 81 |
The Basic Object Exercise | 91 |
Three Entrances | 95 |
Immediacy | 102 |
The Fourth Wall | 106 |
Endowment | 112 |
Talking to Yourself | 119 |
Circumstances | 158 |
Relationship | 165 |
The Objective | 174 |
The Obstacle | 180 |
The Action | 184 |
The Rehearsal | 192 |
Practical Problems | 201 |
Communication | 213 |
Style | 217 |
Epilogue | 222 |
| 224 | |
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Common terms and phrases
acting action actor actress actually adjustments allow areas artist attempt attention audience avoid aware become begin behavior believe bring character character’s circumstances cold coming condition consequent continue create deal director discover don’t emotional endow examine example exist expect experience explore eyes fact feel final give given happens hear human imagination immediately influence inner involvement kind live look mean memory move never object exercises obstacle once outer particular past performance person physical play practice prepare present problems produce questions reality rehearsal relationship remember result RoLE scene seems selection sensations sense serve simply someone specific stage stand substitution talking task theater things thought tion turn understanding verbal waiting walk wall young