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LEADER: 06846cam 2200901Ia 4500
001 ocn747436849
003 OCoLC
005 20210511025516.0
008 110822s2001 enk ob 001 0 eng d
006 m o d
007 cr cnu---unuuu
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019 $a606550797$a608520221$a961881787$a978657543$a978902221$a1048300239$a1065422996$a1083180445$a1119105591
020 $a9781441103819$q(electronic bk.)
020 $a1441103813$q(electronic bk.)
020 $z0826478794
020 $z082644900X$q(hardback)
020 $z9780826449009$q(hardback)
020 $z0826449018$q(pbk.)
020 $z9780826449016$q(pbk.)
035 $a(OCoLC)747436849$z(OCoLC)606550797$z(OCoLC)608520221$z(OCoLC)961881787$z(OCoLC)978657543$z(OCoLC)978902221$z(OCoLC)1048300239$z(OCoLC)1065422996$z(OCoLC)1083180445$z(OCoLC)1119105591
037 $a9781441103819$bcodeMantra
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082 04 $a792.02/8$223
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100 1 $aMeyer-Dinkgräfe, Daniel,$d1958-
245 10 $aApproaches to acting :$bpast and present /$cDaniel Meyer-Dinkgräfe.
260 $aLondon ;$aNew York :$bContinuum,$c2001.
300 $a1 online resource (vi, 225 pages).
336 $atext$btxt$2rdacontent
337 $acomputer$bc$2rdamedia
338 $aonline resource$bcr$2rdacarrier
490 1 $aContinuum studies in drama
504 $aIncludes bibliographical references (pages 207-218) and index.
588 0 $aPrint version record.
506 $3Use copy$fRestrictions unspecified$2star$5MiAaHDL
533 $aElectronic reproduction.$b[S.l.] :$cHathiTrust Digital Library,$d2010.$5MiAaHDL
538 $aMaster and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002.$uhttp://purl.oclc.org/DLF/benchrepro0212$5MiAaHDL
583 1 $adigitized$c2010$hHathiTrust Digital Library$lcommitted to preserve$2pda$5MiAaHDL
520 $a"For centuries the theatre has been one of the major forms of art. Every evening thousands of actors have performed on countless stages world-wide. How did acting, and its institutionalisation in the theatre, begin in the first place? In some cases historians have developed several opposing theories. In some cultures complex stories relate the origin of acting and the theatre. Over time, though, approaches to acting have changed considerably. In the West, until the end of the 19th century, those changes occured within the realm of acting itself, focusing on the question of whether acting should be 'natural' or 'formal.' Approaches to acting were closely related to the trends in culture at large. Acting became more and more professional and sophisticated as philosophical theories developed and knowledge in the human sciences increased. In the 20th century, the director was established as the most important force in the theatre. Acting became one element of several in the director's overall vision of and concept for the production. At best, a director is able to lead an actor to pinnacles of their art which they could not have achieved on their own. Approaches to acting in non-Western culture follow quite different patterns. This book provides an overview of different approaches to acting, both historical and contemporary, Western and non-Western, and concludes with a challenge to the future of the art." --Book Jacket.
505 00 $g1.$tWorldwide origins of acting --$g2.$tThe foundations of western approaches to acting: Greece and Rome --$g3.$tRenewing the sources: approaches to acting in the Middle Ages and the Renaissance --$g4.$tNature or form: approaches to acting from 1550 to 1900 --$g5.$tApproaches to acting in the twentieth century --$g6.$tNon-western approaches to acting --$g7.$tApproaches to acting in the intercultural paradigm --$g8.$tTraining the actor, past and present --$g9.$tTheatre criticism --$g10.$tThe future of acting.
650 0 $aActing.
650 0 $aActing$xHistory.
650 7 $aPERFORMING ARTS$xActing & Auditioning.$2bisacsh
650 7 $aActing.$2fast$0(OCoLC)fst00796146
650 7 $aSchauspielkunst$2gnd
650 17 $aActeren.$2gtt
650 07 $aSchauspielkunst.$2swd
655 0 $aElectronic books.
655 4 $aElectronic books.
655 7 $aHistory.$2fast$0(OCoLC)fst01411628
776 08 $iPrint version:$aMeyer-Dinkgräfe, Daniel, 1958-$tApproaches to acting.$dLondon : Continuum, [2005]$z0826478794$w(OCoLC)62072247
830 0 $aContinuum studies in drama.
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