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This is a revised edition of one of NHB's consistently best-selling theatre books - a treasure trove of drama games and exercises. "House of Games" has proved itself an immensely valuable resource for teachers, theatre directors, and drama workshop leaders. Following on from Keith Johnstone's famous "Impro" and Augusto Boal's "Games for Actors and Non-Actors", Chris Johnston's book provides ideas and guidance for drama groups of all kinds.
A variety of stories from the pens of classical and contemporary writers, journalists and playwrights have been adapted for Readers Theatre performance in this new collection of scripts by a nationally-known authority on the subject. The success of Readers Theatre proves you don't need scenery or costumes to create a stirring dramatic performance. Sometimes called "theatre of the imagination, " Readers Theatre communicates in a style similar to the golden days of radio theatre. Its ease of performance makes these scripts ideal for the drama classroom. Sample titles include: The Tooth Fairy Who Didn't Have Any Teeth, The Taming of the Shrew, Sir de Maletrolt's Door, The Wind in the Willows and Where Have All the Flowers Gone? Included is a section defining Readers Theatre as a performance art. Contents: Reader's Theatre: A Performance Art, Comedy, Mystery/Suspense, Christmas Specials, Folklore, Children's Classics, The Human Spirit.
The Michael Chekhov Handbook is a practical guide to Chekhov's supportive techniques for actors, fully updated with new exercises that examine the relationship between the sensations of the physical body and the imagination. Lenard Petit draws on twenty-five years of teaching experience to unlock and illuminate Michael Chekhov's philosophy, and offers guiding principles and effective tools that actors can apply in rehearsal and performance. The second edition focuses on the building blocks of drama and an exploration of the five senses as an expressive springboard, with a new section on the function of the Archetype in the Chekhov method. Theory and practice are treated here with clarity and simplicity. Dedicated to students and teachers of acting, The Michael Chekhov Handbook provides readers with the essential tools they need to put the rewarding principles of this technique into use.
This manual shows how the actor can use his or her body to be as expressive and "articulate" as he or she is with words. Anne Dennis was Head of Movement at Rose Bruford College in London, and this volume aims to rethink and analyze the actor's physical needs, offering a series of graded exercises aimed at realizing those needs and making the body fully articulate as a medium of expression. The work should also be useful for teachers, directors, movement directors and choreographers.
A wonderfully practical - and personal - introduction to acting by someone at the top of her profession who can really do it. ***New edition with new introduction by the author*** "Acting is what I do with who I am", writes Harriet Walter - and in this book she takes us step by step through the processes involved in performance. And each step of the way is illuminated with brilliantly precise examples drawn from her own experience.
An actor's deepest desire is to be understood. But when asked to pronounce such words as "chanson," "phantasime," or "quaestor," many otherwise unflappable actors can be rendered speechless. The "Eloquent Shakespeare" aims to untie those tongues and help anyone speak Shakespeare's language with ease. More than 17,500 entries make it the most comprehensive pronunciation guide to Shakespeare's words, from the common to the arcane. Each entry is written in the International Phonetic Alphabet and represents standard American pronunciations, making this dictionary perfect for teachers, actors, and directors all over North America. Renowned Shakespearean voice and text coach Gary Logan has spent years teaching Shakespeare's works to some of the best actors in the world. His book includes proper names and foreign words and phrases, as well as an extensive introduction that covers everything from how to interpret the entries to scansion dynamics. Designed especially for actors, directors, stage managers, and teachers, "The Eloquent Shakespeare" is a one-of-a-kind resource for performing Shakespeare's dramatic works.
A new book from the bestselling author of Why Is That So Funny? 'Masks are empowering... They enable you to take risks. They provoke you into working with the reckless logic of a six-year-old or the enigmatic stillness of someone wiser than you'll ever be. But above all, masks let you be you without your habitual limitations.' In Playing the Mask, award-winning theatre-maker and teacher John Wright explores and demystifies mask-work: what masks do, how they do it, and, above all, what they can teach us about acting. This book is a wonderfully accessible introduction to a fresh and innovative acting technique for actors, theatre-makers and teachers to use in training and rehearsal. A mask releases the actor to be playful, and playfulness generates ideas, finds meaning, develops characterisation - and is infinitely more fun than traditional training. Rather than a dry guide to making masked theatre, it is about, for instance, playing Lady Macbeth in Red Nose, or Hamlet in the mask of The Victim, The Ogre or The Fool, or even Romeo and Juliet in grotesque half-masks... All in the name of liberating your creativity and, ultimately, improving your performance. Extensively illustrated with a rich variety of masks, this inventive and pragmatic book is full of invaluable games and exercises drawn from the author's own workshops, his experience as co-founder of both Trestle and Told by an Idiot, and his pioneering mask and clown work in many professional productions. 'Brilliant, entertaining and accessible' --Paul Hunter, from his Foreword
Michael Pennington's solo show about Shakespeare, "Sweet William,"
has been acclaimed throughout Europe and in the US as a unique
blend of showmanship and scholarship. In this book, he deepens his
exploration of Shakespeare's life and work - and the connection
between the two - that lies at its heart.
In this anthology of diverse monologues and scenes mature actors will find material by a wide-range of playwrights and their best work. Marriage sex work the changes in a maturing body memories and loss of memory among other themes that reflect the life experiences of middle age and aging are presented for the benefit of actors who are over fifty as well as younger actors seeking to expand their range. Never before compiled in a single volume these moving and unusual pieces will serve as a valuable reference and ever-inspiring source of material.
Graded exercises introduce the reader to the history and techniques of commedia, originating in mid-16th century Italy. Topics covered include: the commedia masks; mime and movement games; using face masks; and creating the roles. Illustrations demonstrate posture, gesture, costume and masks.
A practical guide to training as an actor, helping you get the most out of drama school - and survive in the world beyond. Are you thinking of applying to drama school? Do you have a place already and want to get the most out of your training? Are you seeking to make the best possible start in the world beyond drama school? Becoming an Actor takes you, step by step, technique by technique, through everything you can expect to encounter at drama school, and in your first year as a professional actor. Stuffed with exercises and full of practical advice, it is the ideal handbook to accompany your training. Thomasina Unsworth teaches at Rose Bruford College, one of the UK's leading drama schools. Here she shows what acting classes at an accredited drama school are actually like, and offers guidance and support through what is a critical time in any actor's career. With many different exercises to help actors explore the techniques they need to master, Becoming an Actor is also an invaluable resource for those teaching acting, and for those seeking to refresh their training.
A follow up to the highly successful "Drama Games for Classrooms and Workshops". Jessica Swales provides invaluable insight and experience in a series of exercises and games designed to free up creativity and release the imagination.
This fascinating text offers the first in-depth exploration of acting processes in British television. Focused around sixteen new interviews with celebrated British actors, including Rebecca Front, Julie Hesmondhalgh, Ken Stott, Penelope Wilton and John Hannah, this rich resource delves behind the scenes of a range of British television programmes in order to find out how actors build their characters for television, how they work on set and location, and how they create their critically acclaimed portrayals. The book looks at actors' work across four diverse but popular genres: soap opera; police and medical drama; comedy; and period drama. Its insightful discussion of hit programmes and its critical and contextual post-interview analysis, makes the text an essential read for students across Television and Film Studies, Theatre, Performance and Acting, and Cultural and Media Studies, as well as academics and anyone interested in acting and British television.
Thinking Through Theatre and Performance presents a bold and innovative approach to the study of theatre and performance. Instead of topics, genres, histories or theories, the book starts with the questions that theatre and performance are uniquely capable of asking: How does theatre function as a place for seeing and hearing? How do not only bodies and voices but also objects and media perform? How do memories, emotions and ideas continue to do their work when the performance is over? And how can theatre and performance intervene in social, political and environmental structures and frameworks? Written by leading international scholars, each chapter of this volume is built around a key performance example, and detailed discussions introduce the methodologies and theories that help us understand how these performances are practices of enquiry into the world. Thinking through Theatre and Performance is essential for those involved in making, enjoying, critiquing and studying theatre, and will appeal to anyone who is interested in the questions that theatre and performance ask of themselves and of us.
Feeling despondent about the acting profession? Been out of work for longer than you care to remember? Starting to resent the injustices of the job and the success of other actors? If so, An Attitude for Acting will inspire you to break out of the cycle of despondency and start to view yourself as a creative and autonomous individual who is valuable and employable.
In this inspirational new manual, Andy Hinds shares what he has learnt over thirty years of teaching the speaking and acting of Shakespeare's texts. In simple steps he brings the reader to a full understanding of how Shakespeare's language 'works', lucidly outlines a number of practical guidelines, and provides simple, test-proven exercises to put each guideline into practice. Key points include: -Acting Solo Speeches -Pronunciation -Imagery and imagistic language -Acting Shakespeare's Verse -Acting Shakespeare's Prose -Breathing The essential guide for all actors, students, teachers or directors tackling Shakespeare's plays or speeches and wishing to release the full dramatic power of his words.
No other book for actors focuses so succinctly on the business of self-management. Whether an actor has an agent or manager or is building toward assembling that team, "Self-Management for Actors" will provide a roadmap for surviving--and thriving--in the entertainment industry. There is nothing magic or even a little mystical about the business side of the business. There is, however, a cloak of protection around some industry information. The good news is, "the edge" that actors are seeking is in your hands already Knowing your type, researching the target buyers of that primary type, staying on the radar in organic and meaningful ways, producing your own content to showcase what you do effortlessly, and learning how to network like a ninja is all within your control Sure, there's work involved, but once you come at it from a place of owning your "bullseye," it doesn't feel like work. It feels like living your dreams These self-management principles are simple, accessible, and do-able No silly "actor busy work" here; SMFA is about balancing your creative fire with the organizational skills that will allow you to navigate this business without "leading from need," as so many actors tend to do. Peppered with real-world examples from working actors and behind-the-desk advice from industry pros, "Self-Management for Actors" has quickly become the most well-worn book on every actor's bookshelf. Author Bonnie Gillespie has taught the SMFA principles all over the world, helping actors navigate tier-jumps from the very beginnings of their creative careers on up through crafting that first acceptance speech With a pocket companion guide and interactive support, this book is an actor's best friend. It's Hollywood grad school... in book form
This collection of Applied Improvisation stories and strategies draws back the curtain on an exciting, innovative, growing field of practice and research that is changing the way people lead, create, and collaborate. Applied Improvisation is the umbrella term widely used to denote the application of improvised theatre's theories, tenets, games, techniques, and exercises beyond conventional theatre spaces, to foster the growth and/or development of flexible structures, new mindsets, and a range of inter and intra-personal skills required in today's volatile and uncertain world. This edited collection offers one of the first surveys of the range of practice, featuring 12 in-depth case studies by leading Applied Improvisation practitioners and a foreword by Phelim McDermott and Lee Simpson. The contributors in this anthology are professional Applied Improvisation facilitators working in sectors as diverse as business, social science, theatre, education, law, and government. All have experienced the power of improvisation, have a driving need to share those experiences, and are united in the belief that improvisation can positively transform just about all human activity. Each contributor describes their practice, integrates feedback from clients, and includes a workbook component outlining some of the exercises used in their case study to give facilitators and students a model for their own application. This book will serve as a valuable resource for both experienced and new Applied Improvisation facilitators seeking to develop leaders and to build resilient communities, innovative teams, and vibrant organizations. For theatre practitioners, educators, and students, it opens up a new realm of practice and work.
Used to teach beginning acting on more campuses than any other text, "Acting One" covers the basic elements of realistic acting in twenty-eight lessons - all based on experiential exercises. The text covers basic skills such as talking, listening, tactical interplay, physicalizing, building scenes, and making good choices.
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