Lee Strasberg Theater & Film Institute Recommended Reading on Theater

  • Appia, A. (1962) Music and the Art of the Theater, Coral Gables, Florida: Routledge.
  • Barba, E. (1995) The Paper Canoe: Guide to Theater Anthropology, London/New York: Routledge.
  • Barrault, J. L. (1979) Refl ections of the Theater, Westport, Conn.: Hyperion.
  • Barton, J. (2001) Playing Shakespeare: An Actor’s Guide, New York: Anchor Books.
  • Benedetti, J. (1988) Stanislavski: A Biography, London: Routledge.
  • Benedetti J. (ed.) (1991) The Moscow Art Theater Letters, London: Routledge.
  • Benedetti, J. (1998) Stanislavski and the Actor, New York: Routledge.
  • Boleslavsky, R. (2003) Acting: The First Six Lessons, New York: Routledge.
  • Braun, E. (1969) Meyerhold on the Theater, New York: Hill and Wang.
  • Brook, P. (1968) The Empty Space, New York: Antheneum.
  • Calvert, L. (1918) Problems of the Actor, New York: H. Holt.
  • Chekhov, M.(1953) To the Actor: On the Technique of Acting, New York: HarperCollins (chapter on psychological gesture).
  • Clurman, H. (1958) Lies Like Truth; Theater Reviews and Essays, New York: Macmillan.
  • Clurman, H. (1975) The Fervent Years, New York: Da Capo Press.
  • Clurman, H. (1997) On Directing, New York: Fireside Books.
  • Cohen, L. (ed.) (2010) The Lee Strasberg Notes, London: Routledge.
  • Cole, T. (ed.) (1955) Acting: A Handbook of the Stanislavski Method (Introduction by Lee Strasberg), New York: Crown.
  • Cole, T. and Chinoy, H. K. (eds.) (1963) Directors on Directing: A Source Book of the Modern Theater, Indianapolis: Bobbs-Merrill.
  • Cole, T. and Chinoy, H. K. (eds.) (1949) Actors on Acting, New York: Crown.
  • Cole, T. and Chinoy, H. K. (eds.) (1953) Directing the Play: A Source Book of Stagecraft, Indianapolis: Bobbs-Merrill.
  • Craig, E. G. (1911) On the Art of the Theater, Chicago: Browne’s Bookstore.
  • Craig, E. G. (1919) The Theater Advancing, Boston, Mass.: Little, Brown.
  • Craig, E. G. (1957) Index to the Story of My Days, New York: Viking Press.
  • Easty, E. D. (1966) On Method Acting, New York: Allograph Press. Fuegi, J. (1987) Bertolt Brecht: Chaos According to Plan, New York: Cambridge University Press.
  • Gassner, J. and Barber, P. (1941) Producing the Play, New York: Dryden Press.
  • Ghiselin, B. (1952) The Creative Process, A Symposium, Berkeley: University of California Press.
  • Gillette, W. (1915) The Illusion of the First Time in Acting, New York: Printed for the Dramatic Museum of Columbia University.
  • Gorchakov, N. (1950) The Vakhtangov School of Stage Art, Moscow: Foreign Languages Publishing House.
  • Gorchakov, N. (1962) Stanislavski Directs Othello, New York: Grossett & Dunlap.
  • Gorchakov, N. (1973) Stanislavski Directs, Westport, Conn.: Greenwood Press.
  • Gorki, M. (1968) Chaliapin: An Autobiography as told to Maxim Gorki, London: Macdonald.
  • Greenblatt, S. (2004) Will in the World: How Shakespeare Became Shakespeare, New York: W. W. Norton.
  • Grotowski, J. (2002) Towards a Poor Theater, New York: Routledge.
  • Hagen, U. (1973) Respect for Acting, New York: Macmillan.
  • Hatterer, L. (1965) The Artist in Society, New York: Grove Press.
  • Hethmon, R. (ed.) (1991) Strasberg at the Actors Studio, New York: Theater Communications Group.
  • Kubie, L. S. (1958) Neurotic Distortion of the Creative Process, Lawrence: University of Kansas Press.
  • La Gallienne, E. (1966) The Mystic in the Theater: Eleanora Duse, New York: Farrar, Straus & Giroux.
  • Leach R. (2003) Stanislavsky and Meyerhold, Oxford; New York: P. Lang.
  • Levy, E. (1994) Habimah: Israel’s National Theater 1917–1977, New York: Columbia University Press.
  • Lewis, R. (1958) Method or Madness, New York: Samuel French.
  • Lewis, R. (1980) Advice to the Players, New York: Harper & Row.
  • Lorenz, K. (1966) On Aggression, New York: Routledge.
  • Lowen, A. (1967) The Betrayal of the Body, New York: Macmillan.
  • Odets, C. (1988) The Time is Ripe: The 1940 Journal of Clifford Odets, New York: Grove Press.
  • Pitches, J. (2003) Vsevolod Meyerhold, London: Routledge.
  • Raikin, Ben-Ari. (1957) Habima, New York: Thomas Yoseloff.
  • Rosenstein, S. (1936) Modern Acting: A Manual, New York: Samuel French.
  • Schmidt, P. (ed.) (1980) Meyerhold at Work, Austin: University of Texas Press.
  • Schneider, D. (1950) The Psychoanalyst and the Artist, New York: Farrar, Straus & Giroux.
  • Seyler, A. and Haggard, S. (1981) The Craft of Comedy, London/New York: Routledge.
  • Sheehy, H. (2003) Eleonora Duse: A Biography, New York: Alfred A. Knopf.
  • Siminov, R. (1969). Stanislavski’s Protégé: Eugene Vakhtangov, New York: DBS Publications.
  • Spolin, V. (1999) Improvisation for the Theater, A Handbook for Teaching and Directing Techniques, Evanston, Ill.: Northwestern University Press.
  • Stanislavski, K. (1936) An Actor Prepares, trans. E. R. Hapgood, Abingdon (UK): Taylor & Francis.
  • Stanislavski, K. (1949) Building a Character, trans. E. R. Hapgood, New York: Theater Arts Books.
  • Stanislavski, K. (1958) Stanislavski’s Legacy: A Collection of Comments on a Variety of Aspects of an Actor’s Art and Life, trans. E. R. Hapgood, revised and expanded 1968, London: Methuen.
  • Stanislavski, K (1961) Creating a Role, trans. E. R. Hapgood, Abingdon (UK): Taylor & Francis.
  • Stanislavski, K (1924) My Life in Art, trans. E. R. Hapgood, Abingdon (UK): Taylor & Francis.
  • Strasberg, L. (1987) A Dream of Passion: The Development of the Method, Boston; Toronto: Little, Brown.
  • Tovstonogov, G. (1972) The Profession of the Stage Director, Moscow: Progress.
  • Whyman, R. (2008) The Stanislavski System of Acting, Cambridge/New York: Cambridge University Press.
  • Zakhava, B. (1926) Vakhtangov and His Studio, Moscow.