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197 - Acting Techniques

from Part XX - Changing Technologies of Stage Performance

Published online by Cambridge University Press:  17 August 2019

By
Sharon Marie Carnicke
Edited by
Bruce R. Smith
Edited in association with
Katherine Rowe
With
Ton Hoenselaars ,
Akiko Kusunoki ,
Andrew Murphy  and
Aimara da Cunha Resende
Bruce R. Smith
Affiliation:
University of Southern California
Katherine Rowe
Affiliation:
Smith College, Massachusetts
Ton Hoenselaars
Affiliation:
Universiteit Utrecht, The Netherlands
Akiko Kusunoki
Affiliation:
Tokyo Woman’s Christian University, Japan
Andrew Murphy
Affiliation:
Trinity College Dublin
Aimara da Cunha Resende
Affiliation:
Universidade Federal de Minas Gerais, Brazil
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Keywords

acting“acting Shakespeare”active analysisAdler, StellaBarrymore, JohnBarton, JohnBernhardt, SarahBerry, CicelyBranagh, KennethBrando, MarlonCarnicke, Sharon MarieCarnovsky, MorrisCobb, Lee J.Coquelin, Constant-BenoîtCraig, Edward GordonDelsarte, FrançoisGarrick, DavidgesturesGroup TheatreHall, PeterHamletKachalov, VasilyKing LearMethodMoscow Art TheatrePacino, AlperformanceRodenburg, PatsyRoyal Shakespeare CompanyRozanova, IrinaStanislavsky, KonstantinStrasberg, Leesystemvoice
Type
Chapter
Information
The Cambridge Guide to the Worlds of Shakespeare , pp. 1434 - 1442
Publisher: Cambridge University Press
Print publication year: 2016

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References

Sources cited

Barton, John. Playing Shakespeare. London: Methuen, 1986.Google Scholar
Beckerman, Bernard. “The 1965 Season at Stratford, Connecticut.” Shakespeare Quarterly 16.4 (autumn 1965): 329–33.CrossRefGoogle Scholar
Berry, Cicely. The Actor and The Text. New York: Applause Books, 1992.Google Scholar
Carnicke, Sharon Marie. Stanislavsky in Focus: An Acting Master for the Twenty-first Century. 2nd ed. London: Routledge, 2008.CrossRefGoogle Scholar
Carnovsky, Morris, with Sander, Peter. “The Eye of the Storm: On Playing King Lear.” Shakespeare Quarterly 28. 2 (spring 1977): 144–50.CrossRefGoogle Scholar
Chushkin, N. N. Gamlet-Kachalov [Hamlet-Kachalov]. Moscow: Iskusstvo, 1968.Google Scholar
Cole, Toby, and Chinoy, Helen Krich, eds. Actors on Acting. New York: Crown Publishers, 1970.Google Scholar
Dillon Gable, Josephine. Modern Acting: A Guide for Stage, Screen, and Radio. New York: Prentice-Hall, 1940.Google Scholar
Ignatieva, Maria. Stanislavsky and Female Actors: Women in Stanislavsky’s Life and Art. New York: UP of America, 2008.Google Scholar
Maher, Mary Z. Actors Talk about Shakespeare. New York: Hal Leonard Corp., 2009.Google Scholar
Morrison, Michael A. John Barrymore: Shakespearian Actor. Cambridge: Cambridge University Press, 1997.Google Scholar
Page, Geraldine. “The Bottomless Cup.” Stanislavski and America. Ed. Munk, Erica. New York: Hill and Wang, 1966. 249–51.Google Scholar
Pierpont, Claudia Roth. “A Critic at Large: Method Man.” The New Yorker 84.34 (27 October 2008): 66–73.Google Scholar
Stanislavskii, K. S. Sobranie sochinenii [Collected Works]. Vol. 1. Moscow: Iskusstvo, 1988.Google Scholar
Vinogradskaia, I., ed. Stanislavskii repetiruet: zapisi i stenogrammy repetistii [Stanislavsky Rehearses: Notes and Transcripts of Rehearsals]. Moscow: Moskovskii khudozhestvennyi teatr, 2000.Google Scholar

Further reading

Baron, Cynthia, and Carnicke, Sharon Marie. Reframing Screen Performance. Ann Arbor: U of Michigan P, 2008.CrossRefGoogle Scholar
Chinoy, Helen Krich, ed. Reunion: A Self-Portrait of the Group Theatre. Spec. issue of Educational Theatre Journal 27.4 (1976).Google Scholar
Creegan, George R., ed. Traditions of Acting [Audio Recordings of Actors]. Steubenville: Crest Publishing, 2000.Google Scholar
Hodge, Alison, ed. Actor Training. London: Routledge, 2010. 1–25.CrossRefGoogle Scholar
Howard, Tony. Women as Hamlet: Performance and Interpretation in Theatre, Film and Fiction. Cambridge: Cambridge University Press, 2007.Google Scholar
Knowles, Richard Paul. “Shakespeare, Voice, and Ideology: Interrogating the Natural Voice.” Shakespeare, Theory, and Performance. Ed. Bulman, James C.. London: Routledge, 1996. 92–112.CrossRefGoogle Scholar
Krasner, David. “Strasberg, Adler and Meisner: Method Acting.” Actor Training. Ed. Hodge, Alison. 2nd ed. London: Routledge, 2010. 144–63.Google Scholar
McTeague, James H. Before Stanislavsky: American Professional Acting Schools and Acting Theory, 1875–1925. Metuchen: Scarecrow, 1993.Google Scholar
Morgan, Joyce Vining. Stanislavski’s Encounter with Shakespeare: The Evolution of a Method. Ann Arbor: UMI Research Press, 1984.Google Scholar
Roach, Joseph R. The Player’s Passion. Newark: U of Delaware P, 1985.Google Scholar
Rodenburg, Patsy. The Need for Words: Voice and the Text. London: Methuen, 1993.Google Scholar
Senelick, Laurence. Gordon Craig’s Moscow Hamlet: A Reconstruction. London: Greenwood, 1982.Google Scholar

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