Respect for Acting

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Overview

At the invitation of Herbert Berghof, Uta Hagen joined the faculty of the HB Studio in 1947. Since then, teaching has always been a challenge for her, as well as for the many prominent actors whom she has helped to develop. For many years, she has been asked to write a book. Now, here it is: an account of her own struggle with the techniques of acting and based on her teachings. The first part, "The Actor," deals with techniques that set an actor in motion physically, verbally, and emotionally. It deals with the ...
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More About This Book

Overview

At the invitation of Herbert Berghof, Uta Hagen joined the faculty of the HB Studio in 1947. Since then, teaching has always been a challenge for her, as well as for the many prominent actors whom she has helped to develop. For many years, she has been asked to write a book. Now, here it is: an account of her own struggle with the techniques of acting and based on her teachings. The first part, "The Actor," deals with techniques that set an actor in motion physically, verbally, and emotionally. It deals with the actor's concept of himself and with the art of acting, as well as with the ethics that have made the theater what it is today and what it could be tomorrow. Part Two, "The Object Exercises," offers specific and detailed work for the actor, covering a broad range of his problems. Part Three, "The Play and the Role," concerns itself with the definition of the play and identification with the character the actor will undertake. It also covers practical problems, the rehearsal, "style," and communication. Respect for Acting is a book for people who respect (or wish they could) the theater on both sides of the footlights, for actor and audience who favor truth in a creative process. The constructive stages of work delve into performance as well as into the issues surrounding a necessary change in the theater. It is all quite authentic, since Uta Hagen has never hesitated to throw herself into a good fight for a better offering in the theater in "the time of her life."

This is a book for people who respect--or wish they could--the theatre on both sides of the footlights, for the actor and audience who favor truth in a creative process. The constructive stages of work delve into performance as well as the issues surrounding a necessary change in the theatre. Among Hagen's distinguished students were Jack Lemmon, Geraldine Page, and Jason Robards.

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Product Details

  • ISBN-13: 9780470228487
  • Publisher: Wiley, John & Sons, Incorporated
  • Publication date: 7/7/2008
  • Edition number: 2
  • Pages: 240
  • Sales rank: 109,819
  • Product dimensions: 5.80 (w) x 8.50 (h) x 1.00 (d)

Meet the Author

UTA HAGEN was born in Germany in 1919 and made her Broadway debut in 1938 as Nina in the Lunt-Fontanne production of The Sea Gull. Among some of the twenty or more Broadway productions in which she has starred are: Othello, Key Largo, A Streetcar Named Desire, The Country Girl, Saint Joan, and Who's Afraid of Virginia Woolf? Recently she starred in the Twentieth-Century Fox film The Other. Even during her playing engagements she has never stopped teaching at the HB Studio. Geraldine Page, Fritz Weaver, Jason Robards, Jack Lemmon, Steve McQueen are only a few of the many fine actors she has helped to send on their way. She has also performed and directed at the HB Playwright's Foundation in numerous productions. Miss Hagen has been ably assisted in the writing of this book by Haskel Frankel, drama critic of The National Observer.
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Table of Contents

Foreword David Hyde Pierce Pierce, David Hyde

Pt. 1 The Actor

Introduction 3

1 Concept 11

2 Identity 22

3 Substitution 34

4 Emotional Memory 46

5 Sense Memory 52

6 The Five Senses 60

7 Thinking 65

8 Walking and Talking 69

9 Improvisation 73

10 Reality 75

Pt. 2 The Object Exercises

Introduction 81

11 The Basic Object Exercise 91

12 Three Entrances 95

13 Immediacy 102

14 The Fourth Wall 106

15 Endowment 112

16 Talking to Yourself 119

17 Outdoors 124

18 Conditioning Forces 129

19 History 134

20 Character Action 139

Pt. 3 The Play and the Role

Introduction 145

21 First Contact with the Play 147

22 The Character 152

23 Circumstances 158

24 Relationship 165

25 The Objective 174

26 The Obstacle 180

27 The Action 184

28 The Rehearsal 192

29 Practical Problems 201

30 Communication 213

31 Style 217

Epilogue 222

Index 224

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Customer Reviews

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Sort by: Showing 1 – 11 of 8 Customer Reviews

  • Posted December 9, 2010

    more from this reviewer

    Great Book, better if you buy it on Nook Color.

    Uta hagen is the meaning of acting she knows her stuff inside out. It's amazing how she describles each lesson with so much detail.You would have to read this book many times before you actually get everything.I will carry this book forever, what makes it better is that you can get it on your Nook Color and highlight and take notes which makes it make easier instead of writing all the time.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted January 30, 2004

    Uta Hagen has Established the 'Best in Theater Text'

    As a theater major in the early 80's this was the text used at Conservatory. Now some 20 odd years later I use it in my Performance classes. This is a must for the would be, should be and will be actor. Brava Madame Hagen!

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted August 4, 2000

    A Good Start for an Actor

    Miss Uta created a very usefull book for an actor needing a good start in technique or someone just trying to review...it is very easy to read, understand and apply!

    1 out of 1 people found this review helpful.

    Was this review helpful? Yes  NoThank you for your feedback.   Report this reviewThank you, this review has been flagged.

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