The Actor and the Target (英語) ペーパーバック – 2002/12/1
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Declan Donnellans fresh and radical approach to acting takes a scalpel to the heart of actors persistent fears from . . . "I dont know what Im doing" through "I dont know who I am" to "I dont know what Im playing." The Actor and the Target has already been hailed by the press in Russia where it is already published:
"Practically and modestly written, Declan Donnellans book helps actors to release their talent to be free on stage. However Donnellans path leads to wider perspectives, his book is rooted in modern theatre, modern psychology and, above all, modern reality. Written with grace and elegance, The Actor and the Target will be thoroughly enjoyed not only by the actors of the new millennium, but also by those of us who see the stage from the dark auditorium."Izvestia
"Donnellans directing style is immediately recognizable in his book, drenched in its spirit of artistic and personal freedom. Unpretentious, straightforward, and pierced with acute insight."Kommersant
Clearly and systematically laid out and full of firm and unambiguous precepts, this book will become a bible for actors in the 21st century.
Declan Donnellan is the first Director of the Royal Shakespeare Academy and is best known for his work with Check By Jowl, including As You Like It, and the recent production of Homebody/Kabul in New York. As Associate Director of the National Theatre his pro-ductions included Fuente Ovejuna, Sweeney Todd, and Angels in America. Abroad, his work abroad includes Le Cid for the Avignon Festival, The Winters Tale for the Maly Theatre in St. Petersbourg and Puskins Boris Godunuv for the Moscow Theatre confederation. He has received awards in London, Paris, New York, and Moscow.
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This book assumes that the reader has been trained in modern acting theory, that the actor reading it has understanding of how to play and build a character, and yet still struggles (as we all do) with forms of "block". The author often uses the phrases/teachings of other acting teachers to point out that it is in fact the framing of some of these "tools" that leads to block. Not that the other theorist's ideas are incorrect, but rather that each actor needs to frame his/her process differently, and that the "target" dictates more of the game than we often think. Little of this is plainly stated in the book, much of it is implied, and if the reader hasn't the breadth of experience much of the potential firepower in this text may be missed. Each time you read it you will see another layer.
It's a fantastic book for any actor trying to re-evaluate, or sharpen his/her process. It is loaded with truth.
Something in the book particularly resonated. When he stated the uselessness of the actor attempting to answer the classic "Who am I?"
question I thought immediately of Daniel Day Lewis who operates in that very manner which at least in part accounts for his being the
great actor he is.
If follows the narrative and practices of traditional methods of acting then turns it on edge to reveal a process of thinking that is new and practical, if you can step aside and improve your craft.