Review by Choice Review
Bartow (artistic director of the Tisch drama department, NYU) brings together the work of leading theater practitioners in consideration of modern American actor training. Like Bartow's previous collections (e.g., The Director's Voice, CH, Feb'89, 26-3210), the writing is clear and concise. The editor offers units covering the masters of internalization (Lee Strasberg, Stella Adler, Stanford Meisner, Uta Hagen) and physicalization (Michael Chekhov, Jerzy Grotowski), and these serve as superb introductions to both the teacher/artists and their unique methodologies. Less satisfying are units by current NYU/Tisch artists, whose own work does not have the lasting relevance of that of the earlier masters. As a reference tool presenting the varied and often-interrelated nature of acting, artists, and technique, this book is truly first-rate. As a guide to help beginning acting students (and their parents) understand and select from the various techniques employed in current actor training--the book's intended purpose--it is somewhat successful, though true comprehension of any technique requires an understanding of acting beyond that possessed by neophytes and their well-intentioned but uninformed parents. Summing Up: Highly recommended. All readers; all levels. J. J. Kelly Elmira College
Copyright American Library Association, used with permission.
Review by Library Journal Review
There are probably as many actor-training methods as there are actors, not to mention an exponential number of books explicating those methods. Aspiring thespians serious about their craft can begin with Bartow's (drama, emeritus, Tisch Sch. of the Arts, NYU; The Director's Voice) survey of American methods, both European-inspired and homegrown. Bartow first traces the history of actor training in America, from on-the-job mentoring to the academy. He then cedes the spotlight to ten teachers who were in most cases pupils of the teachers whose methods they describe (e.g., the Lee Strasberg technique is outlined by Strasberg's former pupil and widow, Anna). Three teachers describe their own methods; perhaps the most intriguing section is Mary Overlie's delineation of her Six Viewpoints method of deconstructing and reassembling theatrical forms. Most chapters include exercises, and all conclude with reading lists and sketches of both teacher and profiler. Richard Brestoff's The Great Acting Teachers and Their Methods provides similar coverage, but Bartow's work is broader, deeper, and more intimate. Largely free of technical jargon, it should be required reading for all working and would-be actors. An essential purchase for academic libraries with theater collections and highly recommended for larger public libraries.-M.C. Duhig, Carnegie Lib. of Pittsburgh Philosophy (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
