Download An Acrobat of the Heart. A Physical Approach to Acting by Stephen Wangh PDF
By Stephen Wangh
"The actor will do, in public, what's thought of impossible." while the popular Polish director Jerzy Grotowski begun his 1967 American workshop with those phrases, his scholars have been shocked. yet inside of 4 weeks they themselves had skilled the "impossible."
In An Acrobat of the Heart, teacher-director-playwright Stephen Wangh finds how Jerzy Grotowski's actual workouts can open a pathway to the actor's internal creativity. Drawing on Grotowski's insights and at the paintings of Stanislavski, Uta Hagen, and others, Wangh bridges the space among rigorous actual education and sensible scene and personality method. Wangh's scholars provide candid descriptions in their struggles and breakthroughs, demonstrating how one can rework those awesome classes right into a own trip of creative progress. brave and compelling, An Acrobat of the Heart is a useful source for actors, administrators, and academics alike.
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Extra info for An Acrobat of the Heart. A Physical Approach to Acting Inspired by the Work of Jerzy Grotowski
Before and after all, I am grateful to my first reader and loving accomplice, Suzanne Baxtresser, and to Noah Nuriel Alim Baxtresser Wangh. Contents PREFACE INTRODUCTION TO THE READER AN ACTOR’S WARM-UP Asking Questions Tuning Your Inner Strings Finding Safe Space The Stream-of-Consciousness Warm-up A Balancing Act Slow Motion The Body Part Warm-up Acting on Impulse What Is an Actor’s Warm-up? Work Clothes LES EXERCICES CORPORELS The Spine Undulations Digesting the Work—The Hunker The Cat More Exercices Corporels The Forward and Backward Rolls The Headstands The Backbends Tiger Leaps LES EXERCICES PLASTIQUES Plastique Isolations The Plastique River Image?
He concluded by declaring, “The actor will do, in public, what is considered impossible” [Crawley, I, 6, 7]. While we sat bewildered by this astonishing speech, Cieślak silently stripped to his shorts, went out to the middle of the empty studio and proceeded to demonstrate the “impossible” for us. With incredible ease and precise physical control, he performed a series of headstands, rolls, and backbends, each flowing into the next, each completely centered and yet somehow off-balance and dynamic.
While we sat bewildered by this astonishing speech, Cieślak silently stripped to his shorts, went out to the middle of the empty studio and proceeded to demonstrate the “impossible” for us. With incredible ease and precise physical control, he performed a series of headstands, rolls, and backbends, each flowing into the next, each completely centered and yet somehow off-balance and dynamic. His body seemed to be made of liquid muscle, enormously powerful, yet utterly soft and supple. He moved with the strength and precision of an accomplished gymnast, yet there was something in his face, in his searching eyes, that removed his work entirely from the world of gymnastics.