Uta Hagen Research Paper

Broadway (1928) and Stymie (1931) and this is to name a few. However, out of all the

It wasn’t until three years later when Tony Bennett convinced her to return to show business that she did any performing. In 1981 she put on the performance of a lifetime. Her one women show entitled “Lena Horne: The Lady and Her Music” ran for fourteen months straight before she took the production on tour.

8. When she was a teen she went to many different schools. She first went to St. Mary school, then St. Lawrence, Pattenville and university of Missouri. Her favorite subject in school was art. She graduated Pattenville high school in 1970. She took art for 4 years in high school.

“I really started dreaming... and broke out of my shyness when I got to Howard University. My first acting class was an Intro to Acting class with Professor Bay, who really broke me out of my shell, encouraged me to follow my dreams and make them a reality” (Gross). I’m going to talk about how to open the door of show business into Hollywood and show you how to potentially reach success. Many talented actors don’t succeed in show business because they forget the first rule: show business is a business. So what I’m going to tell you here briefly covers the business details behind the world of film, television, and theatre. In order to better understand your role in the larger scheme of show business, you need to understand the wants and needs of the wealthiest people in the industry. The business of acting is simple. You help others make money, and they’ll help you make money. But first, you need to figure out how show business really works.

In a few short years do not be surprised to see the name Melani Finney spelled out in lights while you stroll down Broadway. Finney, an aspiring stage actress from Prince George’s County, will graduate from Frostburg this Spring with a degree in Theatre and a minor in Public Relations, which she hopes to use to pursue her dreams of becoming a well known Broadway actress.

1912 began as seeming to be the year of success for Dorothy. She landed roles in many films and series. Upon all her upcoming success, she decided to take a break from it all and go on vacation to Europe with her mother. Her stay didn’t last long because advisor and producer Jules Brulatour, wired her in Italy to come back and return to start filming a new roster of films. Her and Brulatour were very close and even started having an affair. He later even divorced his wife to marry

She seems to be strong and independent and shows the patronizing attitude to Sullivan. The Girl is already acquainted with Hollywood's main requirement for women: submission to the male producers. By her comportment it can be assumed that she has failed as a Hollywood actress because of her refusal to follow these canons of behavior. The Girl has preserved her independence what can be seen when she gives sarcastic commentaries upon every attempt of Sullivan to show his domination and

Since she made it to Broadway in 1946, she was nominated for her excellent performance in musicals such as Bus Stop, Sail Away, Company, Show Boat, and A Delicate Balance. Stritch not only became a well-known actress, but she made songs like “Something Good,” “Why Do The Wrong People Travel,” “The Ladies Who Lunch,” “I’m Still Here,” and “There’s No Business Like Show Business” her anthem that would never be forgotten

Richards was born July 12th, 1920. She was an American actress, poet, playwright, and author. Richards was born in Vicksburg, Mississippi. In 1948, she graduated from Dillard University, and move to New York City two years after. Her career began in 1955 as she performed in the Broadway show Take a Giant Step. She knew she acting was her passion so she continued to do it her entire life. Richards was nominated for a Tony awards years later for her outstanding performance on stage. But stage was not her only doing in acting; she also acted in numerous television shows. Richards also won two Emmy awards for her performance. In the last year of her life, Richards was diagnosed with emphysema in 2000. By the age of 80, she died from

Hagen was able to get cast early by an actress manager as Ophelia. That was just the start from there was only big things. She then went on to Broadway playing the role of Nina in The Seagull. She was only 18 and already on Broadway.

At the age of 14, she dropped out of school; to become San Francisco’s first African-American female cable car conductor. In 1944, she gave birth to a son (Guy), July 3, 1951.She married Thomas J. (Tosh) Angelos, and divorced him in 1973. January 18, 1974 she married Paul Bernard Due Feu, divorced him in1983. In the mid 1950’s her career started lifting like a jet. She wrote and starred in different plays and mini-series.

“We are not born knowing who we are or what our place is in the social landscape; we learn to be American or Japanese, male or female, husband or wife, or Amy, Richard, Micheal, Rachel, or Rebecca.” Our identities are constructed by this “social landscape”. The social construction of identity takes place by living life through first hand experiences and through certain social circumstances. Amartya Sen says,” Classification is certainely cheap, but identity is not. More interestingly, whether a particular classification can plausibly generate a sense of identity or not must depend on the social circumstances.” Identity is a complex matter but can be defined in simple terms. It is who you are. Your personality, the way you act in response to

In 1937 her talents caught the eye of Eva Le Gallienne. (A renowned director, and actor of the era) Uta was casted in a production of; “Hamlet” (even though she choked the audition) as Ophelia, and won overwhelming reviews. She would later go on to perform in some of the renowned classic plays such as: “A Streetcar Named Desire”, ” St. Joan in Berlin”, and “A Month in the Country.” Uta Hagen also made many appearances in Film and Television, and in 1951 she won her first Tony award.1

As Uta Hagen says in her book, Respect for Acting, “The continuing job of learning to find out who you really are...will help you begin to fill your warehouse with sources upon which to draw for the construction of a character” (Hagen). This is something that is very true for myself as in this year of acting classes I not only learned new acting skills, but I also learned more about myself. This year I have learned to delve deep into a character’s background and personality, to be a chapter, not act like one, the importance of active rehearsal, and the difference a set and costumes can make. Having had very little proper theatre acting training, and absolutely no film acting, I really did not know how much preparation went into a scene or a character before even learning my lines. I was very new to doing so much research about details I thought were not important.

Stella grew up along her parents and played the roles of both boys and girls. When studying her acting she didn’t have much time for school but she did attend a public school in New York. Her first debut was in London, England when she was 18 as Naiome in Elisa Ben Avia with her father’s company. She made her first debut in the English-language was on Broadway in 1922 as the butterfly in The World We Live In. In 1940’s she started teaching acting at the New School for Social Research in New City. She kept teaching at that studio until 1949 and decided to start her own studio known as the Stella Adler Conservatory of Acting (before that it was the Stella Adler Theatre Studio). While teaching at her own school, she also taught at Yale University’s School of Drama for a year and a half. Adler mentored many accomplished personalities such as Marlon Brando, Judy Garland, Elizabeth Taylor, Dolores del Rìo, Robert De Niro, Elaine Stritch, Martin Sheen, Manu Tupou, Harvey Keitel, Melaine Griffith, Peter Bogdanovich, and Warren Beatty by teaching them the many principles of contemperary theatre like characterization and script. As her career and she started getting older she stopped performing in 1961. Also with her acting she also was an associate producer for MGM (Metro-Goldwyn-Mayer studio. She also directed commercial theatre and she also wrote The Technique of