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010   $a9786613202291
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100   $a20000605d2001      uy|            0
101 0 $aeng
135   $aur|n|---|||||
181   $ctxt
182   $cc
183   $acr
200 10$aApproaches to acting $epast and present /$fDaniel Meyer-Dinkgra?fe
210  1$aLondon ;$aNew York :$cContinuum,$d2001.
215   $a1 online resource (234 p.)
225 1 $aContinuum Collection
300   $aDescription based upon print version of record.
311   $a0-8264-4900-X 
311   $a0-8264-7879-4 
320   $aIncludes bibliographical references (pages [207]-218) and index.
327   $aContents; Acknowledgements; Introduction; 1 Worldwide Origins of Acting; 2 The Foundations of Western Approaches to Acting: Greece and Rome; 3 Renewing the Sources: Approaches to Acting in the Middle Ages and the Renaissance; 4 Nature or Form: Approaches to Acting from 1550 to 1900; 5 Approaches to Acting in the Twentieth Century; 6 Non-Western Approaches to Acting; 7 Approaches to Acting in the Intercultural Paradigm; 8 Training the Actor, Past and Present; 9 Theatre Criticism; 10 The Future of Acting; Notes; Bibliography; Index
330   $aFor centuries the theatre has been one of the major forms of art. How did acting, and its institutionalization in the theatre, begin in the first place? In some cultures complex stories relate the origin of acting and the theatre. And over time, approaches to acting have changed considerably. In the West, until the end of the 19th century, those changes occurred within the realm of acting itself, focusing on the question of whether acting should be 'natural' or 'formal.' Approaches to acting were closely related to the trends in culture at large. Acting became more and more professional and so
410  0$aContinuum Collection
606   $aActing
606   $aActing$xHistory
608   $aElectronic books.
615  0$aActing.
615  0$aActing$xHistory.
676   $a792/.028
700   $aMeyer-Dinkgra?fe$b Daniel$f1958-$0852416
801  0$bMiAaPQ
801  1$bMiAaPQ
801  2$bMiAaPQ
906   $aBOOK
912   $a9910461493103321
996   $aApproaches to acting$91929271
997   $aUNINA