New PDF release: An Acrobat of the Heart. A Physical Approach to Acting

By Stephen Wangh

"The actor will do, in public, what's thought of impossible." whilst the well known Polish director Jerzy Grotowski all started his 1967 American workshop with those phrases, his scholars have been surprised. yet inside 4 weeks they themselves had skilled the "impossible."

In An Acrobat of the Heart, teacher-director-playwright Stephen Wangh unearths how Jerzy Grotowski's actual routines can open a pathway to the actor's internal creativity. Drawing on Grotowski's insights and at the paintings of Stanislavski, Uta Hagen, and others, Wangh bridges the distance among rigorous actual education and sensible scene and personality strategy. Wangh's scholars supply candid descriptions in their struggles and breakthroughs, demonstrating how one can rework those outstanding classes right into a own trip of inventive progress. brave and compelling, An Acrobat of the Heart is a useful source for actors, administrators, and academics alike.

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Additional resources for An Acrobat of the Heart. A Physical Approach to Acting Inspired by the Work of Jerzy Grotowski

Sample text

Right now, for instance, you have probably chosen a “comfortable” place in which to read this book, a place in the room to sit (or stand or lie down) that allows you to concentrate on the task of reading. Similarly, when you enter a dance studio, you choose a place on the floor that “feels right” for dancing. If one day you were to notice that a section of the dance floor was wet, you would look for a dry area in which to work because it would be foolhardy to practice leaps and pirouettes on a wet floor.

This warm-up is not a fixed regimen; it is a practice that will grow and change as your acting skills and your circumstances change. It begins with asking questions, and the first question we ask is simply, Where do you choose to do your warm-up? ” The work of the actor is in danger, continuously supervised and observed. One must create an atmosphere, a working system, in which the actor feels that he can do anything, and that nothing he does will be mocked, that all will be understood. … Often, the moment the actor understands this, he reveals himself.

And that is usually not the case. So it can be worthwhile to take note of the skills (techniques, methods, ways of working) you already possess. What is written here is not meant to undermine or to invalidate techniques that already work for you. The work in this book should be about opening new doors, not about closing old ones. TUNING YOUR INNER STRINGS Nearly seventy years ago, Konstantin Stanislavski wrote: You know that a sculptor kneads his clay before he begins to use it, and a singer warms up his voice before his concert.

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