Author(s): HAGEN UTA
"This fascinating and detailed book about acting is Miss Hagen's credo, the accumulated wisdom of her years spent in intimate communion with her art. It is at once the voicing of her exacting standards for herself and those she teaches, and an explanation of the means to the end. For those unable to avail themselves of her personal tutelage, her book is the best substitute." - Publishers Weekly "Uta Hagen's Respect for Acting is not only pitched on a high artistic level but it is full of homely, practical information by a superb craftswoman. crafts-woman. An illuminating discussion of the standards and techniques of enlightened stage acting." - Brooks Atkinson "Hagen adds to the large corpus of titles on acting with vivid dicta drawn from experience, skill, and a sense of personal and professional worth. Her principal asset in this treatment is her truly significant imagination. Her object exercises' display a wealth of detail with which to stimulate the student preparing a scene for presentation." - Library Journal "Respect for Acting is a simple, lucid and sympathetic statement of actors' problems in the theatre and basic tenets for their training wrought from the personal experi
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.
PART ONE: The Actor. Introduction; 1. Concept; 2. Identity; 3. Substitution; 4. Emotional Memory; 5. Sense Memory; 6. The Five Senses; 7. Thinking; 8. Walking and Talking; 9. Improvisation; 10. Reality; Part TWO: The Object Exercises. Introduction; 11. The Basic Object Exercise; 12. Three Entrances; 13. Immediacy; 14. The Forth Wall; 15. Endowment; 16. Talking to Yourself; 17. Outdoors; 18. Conditioning Forces; 19. History; 20. Character Action; Part THREE: The Play and the Role. Introduction; 21. First Contact with The Play; 22. The Character; 23. Circumstances; 24. Relationship; 25. The Objective; 26. The Obstacle; 27. The Action; 28. The Rehearsal; 29. Practical Problems; 30. Communication; 31. Style; Epilogue; Index.