- Taschenbuch: 368 Seiten
- Verlag: Bantam; Auflage: Reprint (27. Dezember 2005)
- Sprache: Englisch
- ISBN-10: 0553381202
- ISBN-13: 978-0553381207
- Größe und/oder Gewicht: 15,4 x 2 x 23,3 cm
- Durchschnittliche Kundenbewertung: 2 Kundenrezensionen
- Amazon Bestseller-Rang: Nr. 19.604 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
The Intent to Live: Achieving Your True Potential as an Actor (Englisch) Taschenbuch – 27. Dezember 2005
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Mehr über den Autor
“I love the work I’ve gotten to do with Larry. He loves actors, he loves acting, and I love him.”
“Larry Moss is probably the most knowledgeable, articulate, creative, compassionate teacher of acting in America today. He is solely responsible for transforming me from a talented person into an artist.”
“Larry has an uncompromising dedication to the art and craft of acting. I wouldn’t take on another role without working with him.”
“Larry is pure genius. He opened my heart and allowed me to feel again. I would not have been able to be John Coffey without him.”
–Michael Clarke Duncan
From the Hardcover edition.
Über den Autor und weitere Mitwirkende
Larry Moss studied his craft with such luminaries as Stella Adler, Sanford Meisner, and Warren Robertson. He began his career at New York’s famed cabaret Upstairs at the Downstairs and went on to appear on Broadway in numerous productions. After teaching at Juilliard and Circle in the Square, Moss returned to Los Angeles and founded the Larry Moss Studio in 1990. His directing credits include the off-Broadway hit The Syringa Tree, which won the 2001 Obie for Best Play of the Year, and a new play opening on Broadway in spring 2005.
From the Hardcover edition.
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As a playwright, I think it's critical that we writers seek to understand how actors and other professionals do their work. Theater (and film) is a collaborative medium, requiring the talents of many people in order to fully realize the potential of a story. By gaining a better knowledge of how directors, designers, actors and others use their skills to bring a play or film to life (on the "back end," if you will), I can write pieces (on the "front end") that interest, inspire and challenge them -- and, as a result, have a stronger effect on audiences. There's nothing worse for a writer than writing something, in isolation, that we think is the greatest thing since tuna casserole, only to have it completely incomprehensible -- or worse, uninteresting -- to actors, directors and, as a result, audiences.
In this search for information, Moss's book is one of the few that I've discovered that offers insights into the actor's process in clear, reasonable language, that makes the necessary connections between the actor's work and the writer's text. I have no doubt, after reading this book, that I will be that much more effective as a playwright, better able to create a solid foundation for those who choose to bring my work to life.
I broke down in tears after practicing the exercises taught in the "Emotional Trigger" chapter. I cannot wait to get new scripts in acting class so that I can utilize the skills that I learned in this book. I highly recommend this to any actor who wants to improve in their craft. This book was the Epiphany that I was waiting for!
If you want to know exactly what makes the difference between a drop-dead wonderful performance and an excruciatingly bad one, it's here. If you need words of encouragement after an awful rehearsal as well as suggestions for making it better, they're also here. Lots of actors don't know HOW to work. This book is packed with techniques for reaching into one's own psyche to build and enrich a character, working smart, and overcoming pitfalls facing all actors. It also contains many entertaining and very honest anecdotes illustrating the necessity for preparation and absolute integrity in all things theatrical.
For someone who finds Stanislavski inaccessible, is stumped when faced with playing a difficult character or has difficulty analyzing a script, this book is gold. An invaluable aid when preparing for an audition or a role, it's like having an understanding and gifted coach on call. Early on, Mr. Moss quotes Stella Adler as saying, "An actor must have the soul of a rose and the hide of a rhinocerous." Larry Moss wrote this book as partial fulfillment of a promise to her, and it's a fine tribute.