A Director's Guide to Stanislavsky's Active Analysis describes Active Analysis, the radically innovative rehearsal method Stanislavsky formulated in the final years of his life.
Preface Introduction PART 1: A DIRECTOR'S WORK WITH ACTIVE ANALYSIS I. Choosing the Play II. Director's Plan: General Challenges III. Director's Plan: Action Analysis IV. An Introductory Conversation with Stanislavsky about Active Analysis V. Active Analysis in Rehearsal VI. Further Active Analysis and Testing VII. Conclusion: Rehearsal Realities PART 2: ACTIVE ANALYSIS OF THE PLAY AND THE ROLE, by Maria Knebel Preface I. General Principles of Active Analysis II. Details are Important III. Main Advantages of Active Analysis IV. Beyond Etudes V. Active Analysis Compared to the Method of Physical Actions VI. Conclusion Bibliography
James Thomas, Professor and Graduate Officer at Wayne State University, Detroit, is a graduate of St. Ambrose College (BA), Villanova University (MA), and the University of Texas at Austin (PhD). He came to WSU from Florida State University, where he was Associate Dean of the School of Theatre. His most recent directing credits include Marriage, The Seagull, The Inspector General, and Death of a Salesman at the Hilberry Theatre, and The Skin of Our Teeth, A Flea in Her Ear, and Ah-Wilderness! at the Bonstelle Theatre. His publications include Script Analysis for Actors, Directors and Designers, The Art of the Actor-Manager: Wilson Barrett and the Victorian Theatre, and translations of The Joy of Rehearsal, The Craft of Rehearsal, and Beyond Rehearsal by Russian director Anatoly Efros. He is also Director of the department's Summer Study Abroad Program with the Moscow Art Theatre School.
That this book contains the long awaited first English translation of Maria Knebel's seminal essay on Active Analysis makes it essential reading for that purpose alone. * Paul Christie, Staffordshire Univerity, UK *