ESSENTIAL STAGE MOVEMENT
Essential Stage Movement is a comprehensive text/exercise book for future and current actors, dancers, and performers. The High School, College and University students of Drama and Theater Departments would find it extremely beneficial for preparing their minds and bodies for the profession. This textbook fills the gap in the specialized physical education of the actors. Different techniques and approaches existing and practiced in formal and informal movement education are eclectic and cannot satisfy the need to quickly develop long-lasting qualities and skills. Different critics and practitioners have improved this method throughout several centuries. It has been tested on many generations of students in various countries to prove the approach is universal. The Method of learning Movement for Actor is supported by nearly two hundred exercises to develop all necessary for a performer Faculties, Habits, and Skills. Originated in Russia, never before this method was presented on the West in such detail and entirety. It is based on Stanislavsky's teachings techniques and would assist Stage Movement Teachers, Theatre Directors, and Managers. Essential Stage Movement consists of three parts: The Theory, the Practice, and The Methodology. The text also includes a brief history of the subject "Stage Movement." The Practice part contains exercises designed to develop different qualities and skills. Among them are Balance, Coordination, Rhythmicity, Sense of Space, and Flexibility, to name a few. The Methodology part explains in detail how to present the exercises to the students for the best results. A Video Instructor course in Movement is available via the Internet separately to support the text.
ESSENTIAL STAGE FENCING
Essential Stage Fencing is a manifestation of a unique system developed in Russia by a famous athlete, fencer Ivan Kokh, who later became a celebrated stage movement authority and my mentor for more than eight years. Since I started my career in the US, I have developed this system to match Western theater and theater education's ethics and aesthetics.
My textbook is an attempt to unify the training of future actors in the area of Stage Fencing. It is also an effort to preserve basic knowledge using a weapon in stage presentations for future generations of actors. It stems from my hope that humanity will not abandon classical drama's magnificent works in the future.
The book consists of several chapters. Among others are the History of Stage Fencing, Basic terms of armed combat, and Exercises in Fencing. The main content is a presentation of four stages of training with a detailed description of exercises. There is also a section on the Methodology of the education process. Altogether, the textbook is a complete course in Stage Fencing that would serve as a teaching tool and a reference manual for actors, directors, stage managers, and choreographers of theater, TV, and Film. This book includes my knowledge and practical experience accumulated over the last fifty years of work as an actor, theater director, instructor, and choreographer. I have directed all my efforts towards the unification of movement training based on Stanislavsky's System.
Stage Fencing is an engaging subject of theater education, forcing many young people to take seminars and workshops offered by private Fight Masters. The problem is that no one can develop these skills in two or three weeks. The approaches are so diverse that the two actors taught by different Masters if met in one production, would hardly recognize each other techniques.
The method described in my book is straightforward, consistent, and unified. After taking only one semester of Essential Stage Fencing, gifted students can choreograph a simple fight scene in a production. For that reason, I dedicated one of the chapters in a book to the "secrets" of fight choreography.
A special chapter explains how the techniques acquired can be used, with minor adjustments, to create a period fight scene with different weapons. As an example, there is a chapter on Quarterstaff techniques that concludes the textbook.
TWO BY FOUR
Dramatic Installation
- Introducing my new book -- a collection of Dramatic Works that includes original plays, screenplays, ballet librettos, musicals, and more.
From Odessa to Miami
От Одессы до Майами
Мою книжку можно рассматривать как автобиографию, но только в определенной степени. Кой-какие имена персонажей в рассказах фиктивные, но многие узнают в них подлинных героев. В некоторых историях я непосредственно не участвовал, но легко представляю себя их участником. И наконец, кого, за исключением сравнительно небольшой группы моих родственников и друзей, может заинтересовать моя биография? Зато хочется верить, что многим будет интересно узнать о делах второй половины двадцатого и первой четверти двадцать первого века от «уцененного одессита», покинувшего родной город в 25 лет и сохранившего в сердце любовь к этому городу до конца.
Азбука Цирка
Эта книжечка для детей от 3-х до 10-ти лет.
Читая и рассматривая картинки дети узнают многое о цирке, его артистах. жанрах, животных и других служителей. Заодно, дети могут выучить азбуку.
Безмолвное Искусство
Информация о книге
Развитие пантомимы и интерес к этому виду искусства говорят о ее волшебной притягательной силе. Естественна и понятна тяга одаренных глухих к этому искусству.
Автор учебного пособия — аспирант кафедры сценического движения ЛГИТМиК Эдуард Розинский преподает сценическое движение и пантомиму в Ленинградском восстановительном центре ВОГ. Эта книга — попытка обобщить накопленный опыт в работе с глухими и помочь руководителям любительских кружков пантомимы. В доступной форме излагаются основные этапы работы с коллективом пантомимы глухих. Много внимания уделено специфической методике обучения неслышащих. Большую помощь начинающим коллективам окажут сценарии пантомимических этюдов, которые даются в «Приложении».
Некоторые положения требуют дальнейшего теоретического обоснования и уточнения, но в целом пособие может стать хорошим подспорьем в работе коллективов художественной самодеятельности системы ВОГ.