I have attempted to break down all the areas in which you can work and search for realities in yourself which serve the character and the play…. Put your instincts and sense of truth, your understanding of human realities to use while probing and grappling with the content and the roots of the material. Be specific and real in your actions, and they will communicate your artistic statement. Bring your universal understanding of the present to the present … as a real artist. &Uta Hagen At the invitation of Herbert Berghof, the late Uta Hagen joined the faculty of the HB Studio in 1947. Since then, teaching was always a challenge for her, as well as for the many prominent actors whom shehelped to develop. For many years, she was asked to write a book. Finally she did, and here it is: an account of her own struggle with the techniques of acting and based on her teachings. The first part, "The Actor", deals with techniques that set an actor in motion physically, verbally, and emotionally. It deals with the actor's concept of himself and with the art of acting, as well as with the ethics that have made the theater what it is today and what it could be tomorrow. Part Two, "The Object Exercises", offers specific and detailed work for the actor, covering a broad range of his problems. Part Three, "The Play and the Role", concerns itself with the definition of the play and identification with the character the actor will undertake. It also covers practical problems, the rehearsal, "style", and communication. Respect for Acting is a book for people who respect (or wish they could) the theater on both sides of the footlights, for actors and audiences who favor truth in a creative process. The constructive stages of work delve into performance as well as into the issues surrounding a necessary change in the theater. It is all quite authentic, since Uta Hagen never hesitated to throw herself into a good fight f 1. Language: English. Narrator: Angele Masters. Audio sample: http://samples.audible.de/bk/adbl/004810/bk_adbl_004810_sample.mp3. Digital audiobook in aax.
The reader will find in this book both elementary and non-elementary mathematics. We tried to limit the volume of non-elementary facts, in order to increase the audience of the present work. Our main goal is to present in an extended framework the famous formula of Faà di Bruno which deals with higher order derivatives of composite functions. To this end, we begin with a rehearsal of some elementary and non-elementary facts concerning real functions of a real variable. Then we present and prove in a detailed manner the formula of Faà di Bruno. The proof in this book is original (we recognize the fact that it is a bit too long, but we hope it is clear and self-contained). Then we use the formula to obtain expressions for the higher derivatives of inverse functions and of functions which depend implicitly on other functions. Parametric representations appear as natural applications and are presented in detail with examples.
Through the use of journaling, historical researchand creative interpretation, the author takes us onher journey to discover the inner motivations andenergies swirling within the recurring character ofShakespeare''s Mistress Quickly. Focusing upon Quicklyas she is written within The Merry Wives ofWindsor, Rossman shares her approach to the processof creating a very human, heartfelt woman, one who isas recognizably real for Shakespeare''s time as shewould be for ours - driven by the same passions anddesires.Included in this work is also a detailed script andcharacter analysis of the role in relation to theplay itself. Rossman''s journal of the rehearsal andperformance process gives the reader a sense of thevarious paths considered and those ultimately takenin her search for artistic integrity. Finally,a key element of the performance-related side ofRossman''s research is an exhaustive exploration ofthe cultural, historical, political, economic, andreligious attributes of Shakespeare s times and howthese factors drive Mistress Quickly s interactionswith others, her perspectives of the society in whichshe lives, and her personal behavior.
Singers and actors who can learn music quickly and accurately have an enormous advantage in today's increasingly competitive field. With Music Essentials for Singers and Actors, award-winning composer and music director Andrew Gerle has written a music theory text especially for singers, focused exclusively on topics and techniques that will help them in the rehearsal room and on stage.Gerle leads readers step by step through every aspect of written music, using over one hundred real-world examples from Broadway scores. His common-sense, methodical Approach demystifies abstract concepts, and his unique 1-STARRT method teaches singers to read musical "words" instead of single notes, enabling confident sight-singing of any score. Drawing on his years of experience as a Broadway vocal coach, Gerle also shows readers how to use music Theory to think like a composer, analyzing scores for dramatic clues to create a more detailed and powerful performance. Each chapter is accompanied by downloadable audio examples and exercises to lock in newly learned concepts.
Anatoly Efros (1925-1987), one of the most admired and original directors of post-war Russia, directed at the Central Children's Theatre, Malaya Bronnaya Theatre, Lenkom Theatre, Moscow Art Theatre, Taganka Theatre, and elsewhere including the Guthrie Theatre in Minneapolis and the Toen Theatre in Tokyo. He taught directing at the State Institute for Theatre Training and wrote several influential books. His productions received numerous awards for creative excellence.In The Craft of Rehearsal , his second work, Efros further illuminates the dynamics of the director's creative work introduced in his first work, The Joy of Rehearsal (Peter Lang, 2006). He discusses the process of considering future plays, rehearsing them, and evaluating the results. Devoted to the principles of Konstantin Stanislavsky and Michael Chekhov, and inspired by the ideas of Bertolt Brecht. Additionally, Efros provides detailed examples of how he developed modern literary reconstructions from classic works, Othello and Turgenev's masterpiece A Month in the Country . His productions of Shakespeare, Molière, Chekhov, and other classics were major events for those who looked to the theatre for social significance as well as aesthetic experience. Theatre students and professionals will benefit from the insights gained as Efros writes about his unique vision for the modern theatre.
This is the first full-scale edition of Cymbeline for 37 years. During that time, there has been considerable interest in Shakespeare's late work in the theatre, and several notable productions have demonstrated the powerful impact of Cymbeline. Based firmly on Roger Warren's extensive experience of the play in rehearsal and performance, this edition shows how Shakespeare draws upon a wide range of sources to create a self-sufficient dramatic universe,combining virtuoso theatrical and poetic means to present a story of a marriage imperilled by mistrust and painfully rebuilt through the physical and spiritual journeys undertaken by the heroine and hero, set in a context of international conflict. A full and detailed commentary pays close attention to the play'scomplex, evocative language.ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner&#8217;s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DIE WALKÜRE In the tetralogy Der Ring des Nibelungen [The Ring of the Nibelung] which was subtitled by Wagner as 'A stage festival play for three days and a preliminary evening', Die Walküre [The Valkyrie] forms the 'first day' following Das Rheingold as the preliminary evening. The beginning of the history of the origins of the tetralogy is frequently placed in 1848 when Wagner compiled a prose sketch entitled Die Nibelungensage (Erstschrift) [The Nibelung Saga (first draft)] or Die Sage von den Nibelungen (Reinschrift) [The Saga of the Niblelungs (fair copy)] which would suggest that this was already the text for the Ring des Nibelungen, but the actual concept for the tetralogy did not actually evolve until the autumn of 1851. When Wagner first compiled the libretto for the heroic opera Siegfried&#8217;s Tod [Siegfried&#8217;s Death] in November 1848 &#8211; during his period of employment as Hofkapellmeister[court music director] in Dresden &#8211; he was in fact only planning a single opera and continued to adhere to this concept even after his involvement in the failed Dresden uprising in 1849 and subsequent escape to Switzerland. He began with the composition of Siegfried&#8217;s Tod in the summer of 1850 in Zurich, but soon laid it aside. He returned to the project almost a year later in May 1851 with the idea of a two-part drama: to lend the plot greater conclusiveness, Siegfried&#8217;s Tod would be preceded by a second opera entitled Der junge Siegfried [The Young Siegfried], subsequently shortened to Siegfried, but this extension was still insufficient to satisfy Wagner&#8217;s dramatic-dramaturgic aspirations. In November 1851, he began the first text drafts for Das Rheingold and Die Walküre which were followed by the libretti in 1852: Die Walküre was completed in June 1852. The premiere of Die Walküre was held in Munich on 26 June 1870, but without Wagner&#8217;s specific permission as he did not wish the operas to be performed separately. He held the opinion that Die Walküre was only logical and comprehendible within the context of the complete tetralogy. Wagner had however not only made a present of the autograph score to King Ludwig II of Bavaria who had been his generous benefactor since 1864, but had also sold him the rights to the tetralogy. The king was eager to experience performances of the already finished parts and Wagner was therefore powerless to prevent him from commanding performances of the individual operas. The premiere of Die Walküre within the context of the tetralogy took place in 1876 at the first Bayreuth Festival. (Egon Voss, quoted from the foreword of the new Die Walküre vocal score; translated by Lindsay Chalmers-Gerbracht) WWV 86 B
An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner&#8217;s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DER FLIEGENDE HOLLÄNDER (1842-1880 version) 'This piano reduction is based on the edition of Der fliegende Holländer from the Critical Complete Edition of Richard Wagner&#8217;s works (Richard Wagner, Sämtliche Werke [Collected works], Vol. 4, III-VI, edited by Egon Voss, Mainz, 2000f.) The primary source for this edition was the first print of the score dating from 1845 which had however been augmented utilising the sources of additions undertaken after 1845, meaning that this edition is actually a compilation of the final versions of all individual sections or relevant details. The overture for example dates back to 1860 whereas No. 1 appears in the version from 1864. What is however most significant is that the versions from the Collected Editions based on new sources is without doubt closer to the original than the score from 1897 edited by Felix Weingartner which had previously formed the basis for all editions and logically also for all performances.&#8221; (Egon Voss, quoted from the foreword of the new Der fliegende Holländer vocal score) Original version and 1842-1880 version The original version of Der fliegende Holländer dates from 1841. Wagner, at the time a completely unknown Kapellmeister in France, trying to get a foothold in Paris, saw the opportunity for a stage work that would meet the fashion at the Paris Opera of performing several short works one after another. Der fliegende Holländer, conceived in 1840 and composed in 1841, seemed to him suited to the purpose. In 1841, even when Wagner no longer counted on a success in Paris, he still held to the conception of a one-act opera and offered the work to German opera houses under the title of &#8220;Romantic Opera in One Act and Three Scenes&#8221;. This version is set in Scotland, taking as the literary model for the opera Heinrich Heine&#8217;s novel fragment &#8220;From the Memoirs of Mr. Schnabelewopski&#8221;, and the protagonists have English names. This version was never performed in Wagner&#8217;s lifetime. Beginning in 1842, the work went through a tale of constant revision: Even before the Dresden premiere (2nd January 1843) Wagner undertook fundamental alterations. He transposed the location from Scotland to Norway, changed character&#8217;s names as appropriate, divided the opera into three acts &#8211; not least due to considerations of scene changes &#8211; and transposed Senta&#8217;s Ballad from A minor to G minor. It was in this version that the score of the opera went to print in 1845. For a performance in 1860 he composed the later so-called &#8216;Tristan&#8217; or &#8216;Redemption&#8217; ending to the Overture. Until the very end of his life, Wagner contemplated a plan for a final score or a definitive vocal score: it never came to be, so that to this day, as with Tannhäuser, we still do not have Der fliegende Holländer in a final version. Based on the research conducted in the creation of the Complete Edition, our editions contain, in one case the original version of 1841, while the other essentially goes back to the first printing of the score of 1845, but with the addition of the source material for the retouchings dating from 1842 to 1889. VOCAL SCORES The original version of the opera was made available for the first time in a vocal score in 2005 (ED 8065). The completely revised new edition of the vocal score of the 1842-1880 version appeared in 2011 (ED 20531). WWV 63
An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner&#8217;s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DIE MEISTERSINGER VON NÜRNBERG &#8220;Die Meistersinger von Nürnberg is today still considered a German festival and national opera: this evaluation is borne out by the opera&#8217;s performance history, the history of its reception and customary performance practice. Critical minds will perhaps recall the quotation from Friedrich Nietzsche&#8217;s publication 'Jenseits von Gut und Böse' [Beyond Good and Evil] in which the Vorspiel [Prelude] to Meistersinger is described as &#8216;magnificent, ornate and ponderous art&#8217; and Wagner&#8217;s music in general as being &#8216;rough and coarse&#8217;. This music according to Nietzsche possesses &#8216;no trace of the fine southern clarity of the sky and nothing of grace&#8217;, but instead &#8216;a cumbersome garb, with a touch of licentious barbarism and solemnity&#8217; and &#8216;even a certain degree of ungainliness&#8217;. Nietzsche&#8217;s evaluation is regarded by many as an insight into the essence of the matter, although it is evident that Nietzsche was exaggerating in order to be provocative. What is more important today is however that this characterisation appears to have been the result of an approach to the performance of Meistersinger which had neglected or even gone as far as to misappropriate elements of this work. This is also the conclusion reached in the Meistersinger Edition of the Critical Complete Edition of the Musical Works of Richard Wagner (Richard Wagner, Sämtliche Werke, Vol. 9, I-III, edited by Egon Voss, Mainz 1979-1987). It has in fact been established that the first print of the score published by B. Schott&#8217;s Söhne in Mainz in 1868 contained numerous errors and omissions, particularly with regard to dynamic markings and articulation. The difference between staccato dots and dashes which has an influence on the tone was simply ignored. The substantial omission of these staccato markings unambiguously draws attention to the fact that Wagner intended a lighter-weight sound than was produced in adherence the first edition. The same also holds true for the dynamic markings which were submitted to a general levelling process in the first edition, thereby entirely masking their original broad scope of differentiation. [&#8230;] When the saying &#8216;the music sets the tone&#8217; is cited, it is in actual fact tempo, dynamics which are implied. If the new findings incorporated into the Meistersinger edition of the Critical Complete Edition are taken seriously, this will inevitably produce a new Meistersinger sound.&#8221; (Egon Voss, quoted from the foreword of the new Meistersinger vocal score; translated by Lindsay Chalmers-Gerbracht) WWV 96