“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 [taught], and an explanation of the means to the end.” “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.” “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.” “There are almost no American… HASKEL FRANKEL was the drama critic of the National Observer. Acknowledgments. 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 Fourth 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.
–Publishers Weekly
–Library Journal
–Los Angeles TimesAbout the Author
Table of contents
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