Übersetzung im Kontext von „Lee Strasberg“ in Englisch-Deutsch von Reverso Context: Holland graduated from the University of Chicago and studied acting. Egal ob James Dean, Al Pacino, Robert De Niro, Dustin Hoffman, Jack Nicholson oder Steve McQueen - sie alle haben im Lee Strasberg Institute ihr Handwerk. lee strasberg schauspielschule.
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Lee Strasberg war ein US-amerikanischer Theaterregisseur, bedeutender Schauspiellehrer und Schauspieler. Er gilt als Begründer des Method Actings. Lee Strasberg (* November in Budzanów, Österreich-Ungarn (heute Budaniw, Ukraine) als Israel Strassberg; † Februar in New York City) war. Das Lee Strasberg Theatre and Film Institute ist eine Schauspielschule mit Niederlassungen in der Theatermetropole New York und der Filmmetropole. Egal ob James Dean, Al Pacino, Robert De Niro, Dustin Hoffman, Jack Nicholson oder Steve McQueen - sie alle haben im Lee Strasberg Institute ihr Handwerk. von 62 Ergebnissen oder Vorschlägen für Bücher: "Lee Strasberg". Überspringen und zu Haupt-Suchergebnisse gehen. Berechtigt zum kostenfreien. Lee Strasberg, Regisseur, Theaterleiter und Schauspieler; geboren in Budzanów/Polen. – Schauspielstudium am American Laboratory. The Lee Strasberg Institute. The Lee Strasberg Theatre and Film Institute is the artistic home for any and all actors interested in studying Lee Strasberg's Method.
von 62 Ergebnissen oder Vorschlägen für Bücher: "Lee Strasberg". Überspringen und zu Haupt-Suchergebnisse gehen. Berechtigt zum kostenfreien. Lee Strasberg war ein US-amerikanischer Theaterregisseur, bedeutender Schauspiellehrer und Schauspieler. Er gilt als Begründer des Method Actings. Übersetzung im Kontext von „Lee Strasberg“ in Englisch-Deutsch von Reverso Context: Holland graduated from the University of Chicago and studied acting.
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Email address. He later joined the Chrystie Street Settlement House's drama club. Philip Loeb , casting director of the Theater Guild, sensed that Strasberg could act, although he was not yet thinking of a full-time acting career, and was still working as a shipping clerk and bookkeeper for a wig company.
Kazan biographer Richard Schickel described Strasberg's first experiences with the art of acting:. He dropped out of high school, worked in a shop that made hairpieces, drifted into the theater via a settlement house company and He had seen good acting before, of course, but never an ensemble like this with actors completely surrendering their egos to the work.
No actors idled about posing and preening or thinking about where they might dine after the performance. More important, every actor seemed to project some sort of unspoken, yet palpable, inner life for his or her character.
This was acting of a sort that one rarely saw on the American stage Strasberg was galvanized. But he soon perceived that as a theoretician and teacher of this new 'system' it might become a major force in American theater.
In Strasberg had his first professional appearance in Processional , a play produced by the Theater Guild.
What Strasberg They worked on relaxation as well as concentration. They worked with nonexistent objects that helped prepare them for the exploration of equally ephemeral emotions.
Strasberg believed he could codify this system, a necessary precursor to teaching it to anyone who wanted to learn it.
His teaching style owed much to the Russian practitioner , Konstantin Stanislavski, whose book, An Actor Prepares published in English in , dealt with the psychology of acting.
He began by directing, but his time was gradually taken up by the training of actors. Called "America's first true theatrical collective," the Group Theater immediately offered a few tuition-free scholarships for its three-year program to "promising students.
Publishers Weekly wrote, "The Group Theatre For a while it was literally the voice of Depression America. Lee Strasberg is one of the few artists among American theater directors.
He is the director of introverted feeling, of strong emotion curbed by ascetic control, sentiment of great intensity muted by delicacy, pride, fear, shame.
The effect he produces is a classic hush, tense and tragic, a constant conflict so held in check that a kind of beautiful spareness results.
The roots are clearly in the intimate experience of a complex psychology, an acute awareness of human contradiction and suffering.
Amid internecine tensions, Strasberg resigned as a director of the Group Theatre in March In Elia Kazan, Robert Lewis , and Cheryl Crawford, also members of the Group Theatre, started the Actors Studio as a nonprofit workshop for professional and aspiring actors to concentrate on their craft away from the pressures of the commercial theatre.
We have here the possibility of creating a kind of theatre that would be a shining medal for our country," Strasberg said in Its privacy is guarded ferociously against the casual intruder, the seeker of curiousities, and the exploiter.
The Studio helps actors to meet the enemy within Strasberg wrote: "At the studio, we do not sit around and feed each other's egos.
People are shocked how severe we are on each other. Beginning in a small, private way, with a strictly off-limits-to-outsiders policy, the Studio quickly earned a high reputation in theatre circles.
The Emmy Award-winning author of Inside Inside , James Lipton , writes that the Actors Studio became "one of the most prestigious institutions in the world" as a result of its desire to set a higher "standard" in acting.
Jack Nicholson auditioned five times before he was accepted; Dustin Hoffman, six times; and Harvey Keitel, 11 times.
After each rejection, a candidate had to wait as long as a year to try again. Martin Landau and Steve McQueen were the only two students admitted one year, out of candidates who auditioned.
He never taught me anything. He would have claimed credit for the sun and the moon if he believed he could get away with it. He tried to project himself as an acting oracle and guru.
Some people worshiped him, and I never knew why. I sometimes went to the Actors Studio on Saturday mornings because Elia Kazan was teaching, and there were usually a lot of good-looking girls there, but Strasberg never taught me acting.
In describing his teaching philosophy, Strasberg wrote, "The two areas of discovery that were of primary importance in my work at the Actors Studio and in my private classes were improvisation and affective memory.
It is finally by using these techniques that the actor can express the appropriate emotions demanded of the character. He once explained his approach in this way:.
The human being who acts is the human being who lives. That is a terrifying circumstance. Essentially, the actor acts a fiction, a dream; in life, the stimuli to which we respond are always real.
The actor must constantly respond to stimuli that are imaginary. And yet this must happen not only just as it happens in life, but [also] actually more fully and more expressively.
Although the actor can do things in life quite easily, when he has to do the same thing on the stage under fictitious conditions, he has difficulty because he is not equipped as a human being merely to playact at imitating life.
He must somehow believe. He must somehow be able to convince himself of the rightness of what he is doing in order to do things fully on the stage. In rehearsal, the character's prehistory, perhaps going back to childhood, is discussed and even acted out.
The play became the climax of the character's existence. In Elia Kazan's autobiography, the Academy Award —winning director wrote about his earliest memories of Strasberg as teacher:.
He carried with him the aura of a prophet, a magician, a witch doctor, a psychoanalyst, and a feared father of a Jewish home.
He was the center of the camp's activities that summer, the core of the vortex. Everything in camp revolved around him.
Preparing to direct the play that was to open the coming season, as he had the three plays of the season before, he would also give the basic instruction in acting, laying down the principles of the art by which the Group worked, the guides to their artistic training.
He was the force that held the thirty-odd members of the theatre together, made them 'permanent. He enjoyed his eminence just as the admiral would.
Actors are as self-favoring as the rest of humanity, and perhaps the only way they could be held together to do their work properly was by the threat of an authority they respected.
And feared. To win his favor became everyone's goal. His explosions of temper maintained the discipline of this camp of high-strung people.
I came to believe that without their fear of this man, the Group would fly apart, everyone going in different directions instead of to where he was pointing.
I was afraid of him too. Even as I admired him. Lee was making an artistic revolution and knew it. He has to be unswerving, uncompromising, and unadjustable.
Lee knew this. He'd studied other revolutions, political and artistic. He knew what was needed, and he was fired up by his mission and its importance.
At his classes in the technique of acting, Lee laid down the rules, supervised the first exercises. These were largely concerned with the actor's arousing his inner temperament.
The essential and rather simple technique, which has since then been complicated by teachers of acting who seek to make the Method more recondite for their commercial advantage, consists of recalling the circumstances, physical and personal, surrounding an intensely emotional experience in the actor's past.
It is the same as when we accidentally hear a tune we may have heard at a stormy or an ecstatic moment in our lives, and find, to our surprise, that we are reexperiencing the emotion we felt then, feeling ecstasy again or rage and the impulse to kill.
The actor becomes aware that he has emotional resources; that he can awaken, by this self-stimulation, a great number of very intense feelings; and that these emotions are the materials of his art.
Lee taught his actors to launch their work on every scene by taking a minute to remember the details surrounding the emotional experience in their lives that would correspond to the emotion of the scene they were about to play.
His actors often appeared to be in a state of self-hypnosis. In Strasberg student James Dean died in a car accident, at age Strasberg, during a regular lecture shortly after this accident, discussed Dean.
The following are excerpts from a transcription of his recorded lecture:. In the middle of his lecture on another topic To hell with it!
I hadn't planned to say this, because I don't know how I'll behave when I say it; I don't think it will bother me. What I cried at was the waste, the waste.
And then when it gets there, what the hell happens with it? The senseless destruction, the senseless waste, the hopping about from one thing to the next, the waste of the talent, the waste of your lives, the strange kind of behavior that not just Jimmy had, you see, but that a lot of you here have and a lot of other actors have that are going through exactly the same thing.
As soon as you grow up as actors, as soon as you reach a certain place, there it goes, the drunkenness and the rest of it, as if, now that you've really made it, the incentive goes, and something happens which to me is just terrifying.
I don't know what to do. The only answer possibly is that we somehow here find a way, a means, an organization, a plan [that] should really contribute to the theatre, so that there should not only be the constant stimulus to your individual development, which I think we have provided, but also that once your individual development is established, it should then actually contribute to the theatre, rather than to an accidental succession of good, bad, or indifferent things.
But I am very, very scared that despite how strongly I feel, or despite how stimulated you become, nothing will be done.
To me that is the future of the Studio, that a unified body of people should somehow be connected with a tangible, consistent, and continuous effort.
That is the dream I have always had. That is what got me into theatre in the first place.