By Harold Guskin
Con una introducción del actor Kevin Kline presentamos los angeles 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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Additional resources for Cómo dejar de actuar
Riemann-Festschrift (Leipzig: Max Hesse, 1909), pp. 60–76. Modern discussions can be found in Suzannah Clark, ‘From Nature to Logic in Schubert’s Instrumental Music’, PhD dissertation (Princeton University, 1997); Daniel Harrison, Harmonic Function in Chromatic Music (Chicago and London: University of Chicago Press, 1994); Dale A. Jorgenson, ‘A R´esum´e of Harmonic Dualism’, Music and Letters 44 (1963), pp. , The Cambridge History of Western Music Theory (Cambridge: Cambridge University Press, 2002), pp.
37. , Beethoven, Goethe und Europa: Almanach zum Internationalen Beethovenfest Bonn 1999 (Laaber: Laaber-Verlag, 1999), pp. , pp. 63–8. Jorgenson, ‘A R´esum´e of Harmonic Dualism’, p. 37. This deﬁnition is put forward, for instance, by Peter Rummenholler. ¨ See his ‘Moritz Hauptmann, der Begrunder ¨ einer transzendental-dialektischen Musiktheorie’, pp. 28–31. It is obvious that such revisionist attempts often go hand in hand with the desire to cleanse particular theorists from the taint of harmonic dualism and rehabilitate them as serious theorists.
Heathcote as The Nature of Harmony and Metre (reprint New York: Da Capo Press, 1991), p. xxxviii (translation modiﬁed). 23 The major triad was for Hauptmann the embodiment of the three dialectical moments in the simultaneously sounding elements. 24 All other intervals, he contended, were compounds of these three (the minor third, for instance, being the difference between the ﬁfth and the major third). 3, as the product of these intervals in three dialectical steps: the octave (which here appears, at stage (I), as the unison) as the manifestation of unity and identity; the ﬁfth (II), which Hauptmann heard with respect to (I) as a ‘hollow’ duality, and the synthetic third (III), which re-unites the opposed two components.