Эпиграфы
1. Quoted by Edith J. R. Isaacs in her introduction to Acting: The First Six Lessons by Richard Boleslavsky, New York: Theatre Arts Books, 1933.
2. Quoted by Sydney Pollock in his introduction to Sanford Meisner on Acting by Sanford Meisner and Dennis Longwell, New York: Vintage, 1987, p. xv.
3. Hull, S. Loraine, Strasberg’s Method as Taught by Lorrie Hull, Woodbridge, CT: Ox Bow, 1985, p. 19.
4. Adler, Stella, Stella Adler on Ibsen, Strindberg, and Chekhov, Barry Paris, ed., New York, Knopf, 1999; Vintage, 2000, p. 3.
5. Meisner, Sanford, and Dennis Longwell, Sanford Meisner on Acting, p. 16.
6. Willet, J., Brecht on Theatre, London: Methuen, 1964, p. 197.
7. Chekhov, Michael, On the Technique of Acting, Mel Gordon, ed., New York: HarperCollins, 1991, p. 4.
8. Hagen, Uta, with Haskel Frankel, Respect for Acting, New York: Wiley, 1973, p. 13.
9. Wolford, Lisa, «Grotowski’s Vision of the Actor», Twentieth Century Actor Training, Alison Hodge, ed., London: Routledge, 2000, p. 203.
10. Encyclopaedia Britannica, «17th and 18th Century Mathematics» (article 1, article 2), analysis, ordinary differential equations, dynamical system theory and chaos, Ultimate Reference Suite CD-ROM, 2003.
11. Mamet, David, Introduction to A Practical Handbook to the Actor by Melissa Bruder et al., New York: Vintage, 1986, p. xi.
12. Adler, Stella, Stella Adler on Ibsen, Strindberg, and Chekhov. (Page xl)
13. Scheeder, Louis, Neo-Classical Training (essay included in this book).
Ссылки
[1] Curtis, George William, The Editor’s Easy Chair, Harper’s Magazine, vol. 28, December 1863, pp. 132–33.
[2] Clurman, Harold, The Fervent Years: The Group Theatre & the ’30s, New York: Knopf, 1945; Da Capo Press, 1983, p. 61.
[3] Ibid., p. 55.
[4] Ibid., p. 44–45.
[5] «Steiner, Rudolf» Encyclopaedia Britannica Online, 2006.
[6] Деконструктивизм начинался как философская практика, разрабатываемая после Второй мировой войны во Франции философом Жаком Дерридой. В 1970-х она обрела популярность в Соединенных Штатах, и авангардисты стали сознательно или неосознанно применять ее в своем творчестве. В некрологе Дерриды, написанном Джоном Канделлом (
