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Written by a highly influential post-Stanislavskian practitioner, this book offers an accessible and contemporary interpretation of The Method, setting out techniques and exercises to train and develop actors today.
Going back to the roots of Method Acting and the work of Lee Strasberg and Stanislavski, and using Barrouk's own unique practice as a lens through which to view it, The Method here is refreshed as something nuanced, contemporary, safe and practical that will benefit all actors - even those most skeptical of it.
Through making a case for the relevance of Method Acting to our modern times and preserving its essence while updating its notions, the book covers the full range of the acting process, including character analysis questions, active analysis, actions, individual and group exploration, identifying actions, and developing/creating a scene in rehearsal. Practical exercises and activities are woven throughout the text, offering a modern framework in which to consider this practice.
The benefits of looking at Stanislavski through both a contemporary and a different cultural lens is invaluable for students and actors alike, and they will appreciate the playful, lively and provocative approach in contrast to the sacred tone of other books on the same topic.
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Written by a highly influential post-Stanislavskian practitioner, this book offers an accessible and contemporary interpretation of The Method, setting out techniques and exercises to train and develop actors today.
Going back to the roots of Method Acting and the work of Lee Strasberg and Stanislavski, and using Barrouk's own unique practice as a lens through which to view it, The Method here is refreshed as something nuanced, contemporary, safe and practical that will benefit all actors - even those most skeptical of it.
Through making a case for the relevance of Method Acting to our modern times and preserving its essence while updating its notions, the book covers the full range of the acting process, including character analysis questions, active analysis, actions, individual and group exploration, identifying actions, and developing/creating a scene in rehearsal. Practical exercises and activities are woven throughout the text, offering a modern framework in which to consider this practice.
The benefits of looking at Stanislavski through both a contemporary and a different cultural lens is invaluable for students and actors alike, and they will appreciate the playful, lively and provocative approach in contrast to the sacred tone of other books on the same topic.