Stella Adler on America's Master Playwrights: Eugene O'Neill, Thornton Wilder, Clifford Odets, William Saroyan, Tennessee Williams, William Inge, Arth

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9780679424437: Stella Adler on America's Master Playwrights: Eugene O'Neill, Thornton Wilder, Clifford Odets, William Saroyan, Tennessee Williams, William Inge, Arth

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1.

Adler, Stella
Editorial: Alfred A. Knopf
ISBN 10: 0679424431 ISBN 13: 9780679424437
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Paseo Books
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Descripción Alfred A. Knopf. Hardcover. Estado de conservación: New. 0679424431 New. Nº de ref. de la librería Z0679424431ZN

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Adler, Stella
ISBN 10: 0679424431 ISBN 13: 9780679424437
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LVeritas
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Descripción Estado de conservación: New. Gift Quality Book in Excellent Condition. Nº de ref. de la librería 36SE5E0000ZM

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Adler, Stella
Editorial: Alfred A. Knopf, Borzoi Books, Random House, Inc., New York (2012)
ISBN 10: 0679424431 ISBN 13: 9780679424437
Nuevos Tapa dura Primera edición Cantidad: 1
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Mnemosyne
(New Haven, CT, Estados Unidos de America)
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Descripción Alfred A. Knopf, Borzoi Books, Random House, Inc., New York, 2012. Hardcover. Estado de conservación: New. Estado de la sobrecubierta: New. 1st Edition. New stated First Edition (2012), new unclipped mylar-protected jacket showing orig. $27.95 price at top right inside front flyleaf, handsome new rich-brown ribbed paper-over-boards cover w/ sharp new edges & corners & titles elegantly gold-stamped on spine, immaculate text-block exterior w/ smooth-cut top & bottom edges & cut-page-style deckle side-edging, immaculate cream-white end-papers on heavy stock, new sewn binding w/ tight signatures & yellow cloth bands at spine-caps, pristine interior handsomely printed in Garamond No. 3 on excellent unblemished paper * 6.50" x 9.50 x 1.46", 0.80 kg, xii+385 (397) pp. * 28 b-w illustrations throughout the text * Stella Adler teaches: "Don't use your conscious past. Use your creative imagination to create a past that belongs to your character. I don't want you to be stuck with your own life. It's too little." & "You must get beneath the words before you can say them. The text must be in you. It is your job to fill, not to empty the words. They can only be used if they come out of what you need to say." * From one the most celebrated & influential acting teachers of all time, whose generations of students include Marlon Brando, Anthony Quinn, Eva Marie Saint, Diana Ross, Robert De Niro, Warren Beatty, Annette Benning, Peter Bogdanovich, & Mark Ruffalo, the long-awaited companion volume to her book on the master European playwrights Ibsen, Strindberg & Chekhov. Stella Adler was a force of nature, an unforgettable personality. Once, when she walked into a crowded room & her presence caused a hush to fall over it, a little girl asked, "Mommy, is that God?" Adler saw script interpretation as the actor's profession: "The most important thing you can teach actors is to understand plays." Her classes of script analysis became legendary; brilliant revelations of the playwrights, the characters, the social class & the time of the play. Adler explored how to find the ideas & experience them; how to search for the soul, for what is unsaid; all of this as a way of building craft as distinct from talent. Her new book, brilliantly edited by Barry Paris, brings together her most important lectures on America's plays & playwrights, the giants of the 20th century, men she knew, loved & worked with. Adler considers, among them, Eugene O'Neill, 'Mourning Becomes Electra', his first play 'Beyond the Horizon' & his last 'Long Day's Journey into Night'. "O'Neill is a mystical playwright; his speech is vernacular, down-to-earth; it conveys the idea that there is nothing real outside." She writes about Tennessee Williams & 'The Glass Menagerie', 'A Streetcar Named Desire', 'Summer & Smoke', & 'The Lady of Larkspur Lotion'. "Williams captivates us because of the romantic way in which he escapes the filth and frustration. The greatness in Williams is that [the characters] have a right to run away. What do they run away from? From the monster of commercialism and competition, from things that kill the melody and beauty of life." About Clifford Odets: "Clifford, if you don't become a genius," Adler once said to him, "I'll never forgive you"; & about his plays 'Waiting for Lefty', 'Golden Boy' & others. About Arthur Miller & 'Death of a Salesman' & 'After the Fall'. About Edward Albee's 'The Zoo Story' & 'The Death of Bessie Smith.' Illuminating, revelatory, inspiring: this splendid book presents Stella Adler at her electrifying best. Nº de ref. de la librería 006679

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4.

Adler, Stella
Editorial: Alfred A. Knopf (2012)
ISBN 10: 0679424431 ISBN 13: 9780679424437
Nuevos Tapa dura Cantidad: 1
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Book Deals
(Lewiston, NY, Estados Unidos de America)
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Descripción Alfred A. Knopf, 2012. Estado de conservación: New. Brand New, Unread Copy in Perfect Condition. A+ Customer Service!. Nº de ref. de la librería ABE_book_new_0679424431

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Adler, Stella
ISBN 10: 0679424431 ISBN 13: 9780679424437
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BWB
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Descripción Estado de conservación: New. Depending on your location, this item may ship from the US or UK. Nº de ref. de la librería 97806794244370000000

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Adler, Stella
Editorial: Alfred A. Knopf
ISBN 10: 0679424431 ISBN 13: 9780679424437
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Mediaoutlet12345
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Descripción Alfred A. Knopf. Hardcover. Estado de conservación: New. 0679424431 *BRAND NEW* Ships Same Day or Next!. Nº de ref. de la librería SWATI2121965454

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Adler, Stella
Editorial: Random House USA Inc, United States (2012)
ISBN 10: 0679424431 ISBN 13: 9780679424437
Nuevos Tapa dura Cantidad: 1
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The Book Depository US
(London, Reino Unido)
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Descripción Random House USA Inc, United States, 2012. Hardback. Estado de conservación: New. New.. 236 x 155 mm. Language: English . Brand New Book. Don t use your conscious past. Use your creative imagination to create a past that belongs to your character. I don t want you to be stuck with your own life. It s too little. You must get beneath the words before you can say them. The text must be in you. It is your job to fill, not to empty the words. They can only be used if they come out of what you need to say. --Stella Adler From one the most celebrated and influential acting teachers of her time, of all time, whose generations of students include Marlon Brando, Anthony Quinn, Eva Marie Saint, Diana Ross, Robert De Niro, Warren Beatty, Annette Benning, Peter Bogdanovich, Mark Ruffalo--the long-awaited companion volume to her book on the master European playwrights Ibsen, Strindberg, and Chekhov ( Evidence, wrote John Guare, that Stella Adler is hands down the greatest acting teacher America has produced . . . Nobody with a serious interest in the theater can afford to be without this book ). She was a force of nature, an unforgettable personality. Once, when she walked into a crowded room and her presence caused a hush to fall over it, a little girl asked, Mommy, is that God? Adler saw script interpretation as the actor s profession ( The most important thing you can teach actors is to understand plays ). Her classes of script analysis became legendary; brilliant revelations of the playwrights, the characters, the social class and the time of the play as opposed to one s own. Adler explored how to find the ideas and experience them; how to search for the soul, for what is unsaid; all of this as a way of building craft as distinct from talent. Her new book, brilliantly edited by Barry Paris, brings together her most important lectures on America s plays and playwrights, the giants of the twentieth century, men she knew, loved, and worked with. Adler considers, among them, Eugene O Neill, Mourning Becomes Electra ; his first play, Beyond the Horizon ; and his last, Long Day s Journey into Night ( O Neill is a mystical playwright . . . his speech is vernacular, down-to-earth . . . it conveys the idea that there is nothing real outside, but that s where I want to be--somewhere out in the fog. The answers are hard to get in a fog ) . . . She writes about Tennessee Williams and The Glass Menagerie, A Streetcar Named Desire, Summer and Smoke, and The Lady of Larkspur Lotion ( Williams captivates us because of the romantic way in which he escapes the filth and frustration . . . The greatness in Williams is that [the characters] have a right to run away. What do they run away from? From the monster of commercialism and competition, from things that kill the melody and beauty of life ) . . . about Clifford Odets ( Clifford, if you don t become a genius, Adler once said to him, I ll never forgive you ); and about his plays Waiting for Lefty and Golden Boy (on Lorna Moon and Joe Bonaparte: You can t put a whore together with a Napoleonic man and think they re going to make it. They might make it under certain conditions--but not from the point of view of love. This is not a love story. It s a hate story ) . . . about William Inge and The Dark at the Top of the Stairs and Come Back, Little Sheba ; about Arthur Miller, Death of a Salesman ( [The salesman s sons] are Biff and Happy . . . They re not George and Jacob. Their names are shortcuts. It s the American Way--a way of saying, We ll leave out tradition . . . That tells you something you ll see throughout the entire play: they are cut off from custom ) about Miller s After the Fall ; and Edward Albee s The Zoo Story and The Death of Bessie Smith. Illuminating, revelatory, inspiring: Stella Adler at her electrifying best. Nº de ref. de la librería AAC9780679424437

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8.

Adler, Stella
Editorial: Random House USA Inc, United States (2012)
ISBN 10: 0679424431 ISBN 13: 9780679424437
Nuevos Tapa dura Cantidad: 1
Librería
The Book Depository
(London, Reino Unido)
Valoración
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Descripción Random House USA Inc, United States, 2012. Hardback. Estado de conservación: New. New.. 236 x 155 mm. Language: English . Brand New Book. Don t use your conscious past. Use your creative imagination to create a past that belongs to your character. I don t want you to be stuck with your own life. It s too little. You must get beneath the words before you can say them. The text must be in you. It is your job to fill, not to empty the words. They can only be used if they come out of what you need to say. --Stella Adler From one the most celebrated and influential acting teachers of her time, of all time, whose generations of students include Marlon Brando, Anthony Quinn, Eva Marie Saint, Diana Ross, Robert De Niro, Warren Beatty, Annette Benning, Peter Bogdanovich, Mark Ruffalo--the long-awaited companion volume to her book on the master European playwrights Ibsen, Strindberg, and Chekhov ( Evidence, wrote John Guare, that Stella Adler is hands down the greatest acting teacher America has produced . . . Nobody with a serious interest in the theater can afford to be without this book ). She was a force of nature, an unforgettable personality. Once, when she walked into a crowded room and her presence caused a hush to fall over it, a little girl asked, Mommy, is that God? Adler saw script interpretation as the actor s profession ( The most important thing you can teach actors is to understand plays ). Her classes of script analysis became legendary; brilliant revelations of the playwrights, the characters, the social class and the time of the play as opposed to one s own. Adler explored how to find the ideas and experience them; how to search for the soul, for what is unsaid; all of this as a way of building craft as distinct from talent. Her new book, brilliantly edited by Barry Paris, brings together her most important lectures on America s plays and playwrights, the giants of the twentieth century, men she knew, loved, and worked with. Adler considers, among them, Eugene O Neill, Mourning Becomes Electra ; his first play, Beyond the Horizon ; and his last, Long Day s Journey into Night ( O Neill is a mystical playwright . . . his speech is vernacular, down-to-earth . . . it conveys the idea that there is nothing real outside, but that s where I want to be--somewhere out in the fog. The answers are hard to get in a fog ) . . . She writes about Tennessee Williams and The Glass Menagerie, A Streetcar Named Desire, Summer and Smoke, and The Lady of Larkspur Lotion ( Williams captivates us because of the romantic way in which he escapes the filth and frustration . . . The greatness in Williams is that [the characters] have a right to run away. What do they run away from? From the monster of commercialism and competition, from things that kill the melody and beauty of life ) . . . about Clifford Odets ( Clifford, if you don t become a genius, Adler once said to him, I ll never forgive you ); and about his plays Waiting for Lefty and Golden Boy (on Lorna Moon and Joe Bonaparte: You can t put a whore together with a Napoleonic man and think they re going to make it. They might make it under certain conditions--but not from the point of view of love. This is not a love story. It s a hate story ) . . . about William Inge and The Dark at the Top of the Stairs and Come Back, Little Sheba ; about Arthur Miller, Death of a Salesman ( [The salesman s sons] are Biff and Happy . . . They re not George and Jacob. Their names are shortcuts. It s the American Way--a way of saying, We ll leave out tradition . . . That tells you something you ll see throughout the entire play: they are cut off from custom ) about Miller s After the Fall ; and Edward Albee s The Zoo Story and The Death of Bessie Smith. Illuminating, revelatory, inspiring: Stella Adler at her electrifying best. Nº de ref. de la librería AAC9780679424437

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9.

Adler, Stella
Editorial: Alfred A. Knopf (2012)
ISBN 10: 0679424431 ISBN 13: 9780679424437
Nuevos Tapa dura Cantidad: 1
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Irish Booksellers
(Rumford, ME, Estados Unidos de America)
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Descripción Alfred A. Knopf, 2012. Hardcover. Estado de conservación: New. book. Nº de ref. de la librería 0679424431

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Adler, Stella
Editorial: Alfred A. Knopf
ISBN 10: 0679424431 ISBN 13: 9780679424437
Nuevos Tapa dura Cantidad: 1
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Movie Mars
(Indian Trail, NC, Estados Unidos de America)
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Descripción Alfred A. Knopf. Hardcover. Estado de conservación: New. 0679424431 Brand New Book. Ships from the United States. 30 Day Satisfaction Guarantee!. Nº de ref. de la librería 15932260

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