The Actor and His Body. This item is unavailable.
Language: English
Published by Harrap, London, 1975
Series: Book 11 of 27 - Theatre Makers
- First Edition
- Softcover
- Used

Seller: West End Books, Colwyn Bay Conwy North Wales, United KingdomWest End Books
AbeBooks seller since October 21, 2009
Condition: Used - Good
£ 5.50
Item description from seller
The Actor and His Body is also a practical manual for keeping the body physically fit and responsive - in Litz Pisk's terms, fully "tuned". There are suggested work-outs for 15 -30 and 60 minute periods as well as a complete Monday to Friday programme concentrating on different parts of the body. No Dust Jacket brown illustratedpaperback, glue exposed on front endpaper, sunned endpapers and occasionally throughout the book, otherwise clean tight copy in good/acceptable condition, 95pp plus 7pp of "The X-Rays" First published in Great Britain by Harrap 1975 Book#103756.
Seller Inventory # 103756
- Title
- The Actor and His Body
- Author
- Litz PISK
- Publisher
- Harrap, London
- Publication year
- 1975
- Condition
- Acceptable/Good
- Dust jacket
- No Jacket
- Binding
- Paperback
- Language
- English
- ISBN 10
- 0245527214
- ISBN 13
- 9780245527210
- Edition
- 1st Edition
- Dimensions
- 8vo - over 7¾" - 9¾" tall
- Series
- Book 11 of 27: Theatre Makers
"Synopsis" may belong to another edition of this title.
Review
No one who worked with the movement teacher Litz Pisk, either as actor or student, will ever forget the sheer theatrical impact of her own movement, at once dynamic and sculptural, intense and totally possessed. - --George Hall, former Head of Acting, Central School of Speech and Drama
Litz Pisk was a theatre visionary who introduced to the field of actors' movement a startlingly new approach, which remains ground-breaking to this day. With her background in the visual arts, Litz Pisk viewed the actor's body as a piece of dynamic sculpture capable of expressing to the audience people and places they had never known. However, a special kind of physical training was necessary before the actor could reach 'a state of readiness' where the body could respond totally to the imagination. In these pages, we begin to gain an insight into how Litz Pisk went about achieving this. - --Sue Lefton, Movement Director and Teacher
"About the title" may belong to another edition of this title.