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OverviewFull Product DetailsAuthor: Vladimir MirodanPublisher: Taylor & Francis Ltd Imprint: Routledge Weight: 0.453kg ISBN: 9781138852518ISBN 10: 1138852511 Pages: 190 Publication Date: 27 November 2018 Audience: College/higher education , General/trade , Tertiary & Higher Education , General Format: Hardback Publisher's Status: Active Availability: In Print  This item will be ordered in for you from one of our suppliers. Upon receipt, we will promptly dispatch it out to you. For in store availability, please contact us. Table of ContentsAcknowledgements A Note on Terminology Chapter One – Introduction PART ONE – The Idea of Character Chapter Two An Independent Character Chapter Three A Brief History of … Type Chapter Four Friends for Life: Character and Literary Criticism Chapter Five The Drama of No Character PART TWO – Transformations in Body and Mind Chapter Six Constructing the Character Chapter Seven Psychologies: I – Trait, Type and Temperament Chapter Eight Psychologies: II – Conflict and Energy Chapter Nine Psychologies: III – Character on the Couch PART THREE – The Melding of Actor and Character Chapter Ten Imagining the Character Chapter Eleven Experiencing the Character Chapter Twelve Deception, Self-Deception and the Transformative Actor IndexReviews... a rich and fascinating exploration of what happens as actors embody fictional selves ... accessible, grounded in professional practice and wide-ranging in scope. - Rick Kemp, author of Embodied Acting: What Neuroscience Tells Us About Performance This is a remarkable book - not a handbook, but the fullest discourse in recent years regarding the complex processes undergone by the protean actor... a combination of impeccably detailed research, perception and example... it has inspired me to think anew about my own practice. Brilliant, profound and shot through with passion and humanity, it is a must for both theatre academics and actors who seek to think about their craft. - Annie Tyson, Royal Academy of Dramatic Arts Mirodan's study is such a rich and learned piece of research, that covers so much ground, and interrelates data and insights from so many disparate areas of inquiry. His intention - to challenge what may have become the complacent orthodoxy of the actor-in-action model - is carried through with an extraordinarily impressive range of scholarship. The Actor and The Character is an outstanding example of the way in which a cross-disciplinary approach to any subject can elicit striking new insights for the target discipline (in this case transformative character acting). It is a book I know that I shall return to again and again, and I have no doubt that my own practice will be deeply affected, at its root, as a consequence of reading it. - Julian Jones, Stanislavski Studies A rich and fascinating exploration of what happens as actors embody fictional selves [...] accessible, grounded in professional practice and wide-ranging in scope. - Rick Kemp, author of Embodied Acting: What Neuroscience Tells Us About Performance This is a remarkable book - not a handbook, but the fullest discourse in recent years regarding the complex processes undergone by the protean actor [...] a combination of impeccably detailed research, perception and example [...] it has inspired me to think anew about my own practice. Brilliant, profound and shot through with passion and humanity, it is a must for both theatre academics and actors who seek to think about their craft. - Annie Tyson, Royal Academy of Dramatic Arts Mirodan's study is such a rich and learned piece of research, that covers so much ground, and interrelates data and insights from so many disparate areas of inquiry. His intention - to challenge what may have become the complacent orthodoxy of the actor-in-action model - is carried through with an extraordinarily impressive range of scholarship. The Actor and The Character is an outstanding example of the way in which a cross-disciplinary approach to any subject can elicit striking new insights for the target discipline (in this case transformative character acting). It is a book I know that I shall return to again and again, and I have no doubt that my own practice will be deeply affected, at its root, as a consequence of reading it. - Julian Jones, Stanislavski Studies A rich and fascinating exploration of what happens as actors embody fictional selves [...] accessible, grounded in professional practice and wide-ranging in scope. - Rick Kemp, author of Embodied Acting: What Neuroscience Tells Us About Performance This is a remarkable book - not a handbook, but the fullest discourse in recent years regarding the complex processes undergone by the protean actor [...] a combination of impeccably detailed research, perception and example [...] it has inspired me to think anew about my own practice. Brilliant, profound and shot through with passion and humanity, it is a must for both theatre academics and actors who seek to think about their craft. - Annie Tyson, Royal Academy of Dramatic Arts Mirodan's study is such a rich and learned piece of research, that covers so much ground, and interrelates data and insights from so many disparate areas of inquiry. His intention - to challenge what may have become the complacent orthodoxy of the actor-in-action model - is carried through with an extraordinarily impressive range of scholarship. The Actor and The Character is an outstanding example of the way in which a cross-disciplinary approach to any subject can elicit striking new insights for the target discipline (in this case transformative character acting). It is a book I know that I shall return to again and again, and I have no doubt that my own practice will be deeply affected, at its root, as a consequence of reading it. - Julian Jones, Stanislavski Studies '... a rich and fascinating exploration of what happens as actors embody fictional selves ... accessible, grounded in professional practice and wide-ranging in scope.' Rick Kemp, author of Embodied Acting: What Neuroscience Tells Us About Performance 'This is a remarkable book - not a handbook, but the fullest discourse in recent years regarding the complex processes undergone by the protean actor... a combination of impeccably detailed research, perception and example... it has inspired me to think anew about my own practice. Brilliant, profound and shot through with passion and humanity, it is a must for both theatre academics and actors who seek to think about their craft.' Annie Tyson, Royal Academy of Dramatic Arts Author InformationVladimir Mirodan is a theatre director, Emeritus Professor of Theatre, and was Vice-Principal and Director of Drama at the Royal Conservatoire of Scotland and Principal of Drama Centre London. He has published on topics of acting psychology, as well as the theory and practice of acting. Tab Content 6Author Website:Countries AvailableAll regions |
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