"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."
"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."
"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 experience of a fine actress and teacher of acting."
"Uta Hagen's Respect for Acting…is a relatively small book. But within it Miss Hagen tells the young actor about as much as can be conveyed in print of his craft."
—Los Angeles Times
"Uta Hagen is our greatest living actor; she is, moreover, interested and mystified by the presence of talent and its workings; her third gift is a passion to communicate the mysteries of the craft to which she has given her life. There are almost no American actors uninfluenced by her."
"This is a textbook for aspiring actors, but working thespians can profit much by it. Anyone with just a casual interest in the theater should also enjoy its behind-the-scenes flavor. Respect for Acting is certainly a special book, perhaps for a limited readership, but of its "How-To" kind I'd give it four curtain calls, and two hollers of "Author, Author
—King Features Syndicate
"synopsis" may belong to another edition of this title.
In her introduction to Respect for Acting, actress and teacher Uta Hagen talks about a time when she herself had no respect for the art of acting. "I used to accept opinions such as: 'You're just born to be an actor'; 'Actors don't really know what they're doing on stage'; 'Acting is just instinct--it can't be taught.'" But this attitude of "you got it or you don't" is fundamentally one that denigrates the craft, as she points out. Great actors do not perform effortlessly, or merely through learning the appropriate tricks and cheats to manipulate an audience. Great acting is about the difficult fusion of intellect and action--about sincerely and truthfully connecting to the moment, your fellow actors, and the audience--and Hagen's thoughtful and profound book contains a series of observations and exercises to help an actor do just that. Her prose style is admirably clear and filled with examples from her own lengthy career both as a performer and in the classroom. While her exercises in sense memory and basic objects skirt close to the sort of self-absorption that followers of "the Method" are routinely accused of, they are presented clearly and with a focus on practical results. And in such places as her chapter "Practical Problems," which includes discussions of stage nerves and how to stay fresh in a long run, her straightforward advice is invaluable. --John LongenbaughFrom the Inside Flap:
"I have attempted to break down all the areas in which you can work and search for realities in yourself which serve the character and the play…. Put your instincts and sense of truth, your understanding of human realities to use while probing and grappling with the content and the roots of the material. Be specific and real in your actions, and they will communicate your artistic statement. Bring your universal understanding of the present to the present … as a real artist."
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."
"About this title" may belong to another edition of this title.
Book Description Macmillan, 1973. Hardcover. Book Condition: New. 1. Bookseller Inventory # DADAX0025473905
Book Description Macmillan, 1973. Book Condition: New. Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: 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. Bookseller Inventory # ABE_book_new_0025473905
Book Description Macmillan. Hardcover. Book Condition: New. 0025473905 WE HAVE NUMEROUS COPIES. HARDCOVER. Dust jacket included. Light storage wear and handling marks on cover, corners and edges. Bookseller Inventory # Z0025473905ZN
Book Description Macmillan, 1973. Hardcover. Book Condition: New. book. Bookseller Inventory # 0025473905
Book Description Macmillan, 1973. Hardcover. Book Condition: New. Bookseller Inventory # P110025473905