By Harold Guskin
Con una introducción del actor Kevin Kline presentamos l. a. pedagogía teatral de un detractor del método Stanislavski, Harold Guskin, teacher ahora de los angeles nueva generación de actores norteamericanos. Un título eminentemente práctico en el que se intercalan las experiencias de las grandes estrellas en su aprendizaje con las lecciones del autor. Imprescindible para todo aquél que se forme en los angeles artes escénicas.
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31–55; Helen Rees, Echoes of History: Naxi Music in Modern China, New York, 2000, pp. 147–57. 30 jonathan stock kemenc¸e had been treated as the least significant part of the trio. 24 A second case in point is offered by a group of Peruvian musicians who visited Britain and the Netherlands in 1984. The group, Ayllu Sulca, were initially surprised to find that their European audiences preferred to hear them perform old items and Quechua songs rather than the more contemporaneous, Spanish-oriented music then in vogue among urban audiences in Peru.
147–57. 30 jonathan stock kemenc¸e had been treated as the least significant part of the trio. 24 A second case in point is offered by a group of Peruvian musicians who visited Britain and the Netherlands in 1984. The group, Ayllu Sulca, were initially surprised to find that their European audiences preferred to hear them perform old items and Quechua songs rather than the more contemporaneous, Spanish-oriented music then in vogue among urban audiences in Peru. 25 A single tour will not be enough to reshape a whole tradition, but a series of these may have an appreciable impact, particularly when performance overseas is seen as a high-status opportunity.
176–91. Dahlhaus, Carl. Foundations of Music History (tr. J. B. Robinson), Cambridge, 1983. Jackson, Travis A. ), The Cambridge Companion to Jazz, Cambridge, 2002, pp. 83–113. McClary, Susan. Conventional Wisdom: The Content of Musical Form, Berkeley, 2000. Morgan, Robert. ), Authenticity and Early Music: A Symposium, Oxford, 1988, pp. 57–82. Nyman, Michael. Experimental Music: Cage and Beyond (2nd edn), Cambridge, 1999. Philip, Robert. Early Recordings and Musical Style: Changing Tastes in Instrumental Performance, 1900–1950, Cambridge, 1992.
Cómo dejar de actuar by Harold Guskin