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In this volume of the Good Audition Guides, you'll find fifty fantastic speeches for women, all written since the year 2000, by some of our most exciting dramatic voices. Playwrights featured in Contemporary Monologues for Women include Mike Bartlett, Alexi Kaye Campbell, Caryl Churchill, Helen Edmundson, debbie tucker green, Ella Hickson, Lucy Kirkwood, Rona Munro, Joanna Murray-Smith and Enda Walsh, and the plays themselves were premiered at the very best theatres across the UK including the National Theatre, the Royal Shakespeare Company, the Bush, Soho and Hampstead Theatres, Manchester Royal Exchange, the Traverse in Edinburgh, the Abbey in Dublin, and many on the stages of the Royal Court. Drawing on her experience as an actor, director and teacher at several leading drama schools, Trilby James prefaces each speech with a thorough introduction including the vital information you need to place the piece in context (the who, what, when, where and why) and suggestions about how to perform the scene to its maximum effect (including the character's objectives and keywords). Contemporary Monologues for Women also features an introduction on the whole process of selecting and preparing your speech, and approaching the audition itself. The result is the most comprehensive and useful contemporary monologue book now available.
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.
'You are an actor. You have worked hard to be an actor. You have made a considerable outlay, financially or emotionally, and often both, to do this. So do it. Do it with style. Do it wholeheartedly. Do it every day. Be a working actor.' Being a working actor isn't just about the days you spend rehearsing or performing. It's about approaching your chosen occupation with dedication, energy and focus, so that you always think of yourself as an actor - especially on those days when you're not acting - and that every single day you do something, however small, to help further your career. Written by the Chairman of the Actors Centre, with over forty years' experience as an actor himself, The Working Actor is the essential guide to putting yourself in the best possible position to get work, to keep getting it, and to make a living from it. It covers a comprehensive range of topics including: - Finding work: the types of jobs on offer, how to track them down, working with your agent; - Landing the job: nailing auditions and meetings (and how they can go wrong), writing a winning letter; - Promoting yourself: compiling a showreel, building your website, choosing (and resembling!) your headshots, networking both on- and offline; - Supporting yourself: choosing a suitable day job, joining Equity, staying positive, avoiding feeling isolated.Each chapter features a work task to inspire you to reflect on what you've learned and to put your knowledge into practice. By the end of the book, armed with your own personal Working Actor Plan, you'll be ready to find your path in the industry, manage your career, and maximise your potential. The Working Actor is an inspiring, reassuring book for actors of all ages and backgrounds - from recent graduates, to more experienced professionals - who want to take their career to the next level. It won't teach you how to act - but it will teach you how to be an actor.
This is an intensely practical handbook for students, actors, and teachers on how to cope with text, character, and situation. Barbara Houseman's method is to state a precept and devise an exercise to explore it. The result is a book with a practical exercise on almost every page.
The "Improvisation Book" takes the teacher step-by-step through a series of graded improvisation exercises. It also contains a unique set of 96 Improvisation Cards. Drawn at random these cards determine Character and Scenario. The endless combinations ensure that the teacher never need run dry!
This is the first of two volumes in a series offering fresh audition pieces for actors at all levels - selected and commentated by a greatly experienced teacher and director. As an actor at any level - from school exam to professional casting - you are called upon to perform one or more audition pieces - often one 'modern' and one 'classical'. A great deal will depend on your coming up with something fresh that is exactly suited to your particular performing skills. This is where the "Good Audition Guides" come in. Drawing on her enormous experience in drama training - she sits on the selection board of several leading Drama Schools - Marina Caldarone has selected over forty-five monologues for men and another forty-five for women drawn from classical plays throughout the ages and ranging across all of Western theatre. Each piece is prefaced with a boxed information panel guiding readers towards the perfect piece for them. These Classical monologues are presented chronologically and arranged within one of seven periods: Ancient Greece and Rome (Sophocles, Euripides, Plautus etc); Jacobethan (Shakespeare, Jonson, Marlowe, Webster etc); French/Spanish 'Golden Ages' (Moliere, Racine, Lope de Vega etc); Restoration (Aphra Behn, Wycherley, Farquhar etc); Naturalism (Ibsen, Chekhov etc); and turn of the Century (Wilde, Shaw etc).
An inspiring and interactive workbook to help you develop skills for longform improvisation, by one of the UK's top improv performers and teachers. Structured as a twelve-week course, this book provides techniques, advice and exercises that can be done on your own or in groups - with activities to complete as you go - for learning faster and becoming (more) amazing at improvisation. It draws on the author's own experience of performing and teaching improv around the world, with added gems of wisdom from key experts. Starting with the basics of improvisation, it moves on to explore areas of the craft such as rehearsals, character, editing, form and style; plus career advice including how to cope with bad gigs, jealousy, fear of missing out and your Inner Critic. The Improviser's Way is ideal for improvisers at any level - from those new to improv entirely, through those familiar with shortform who are looking to extend their reach, to experienced longform performers and teachers looking to refresh their approach and embrace new ideas. It is also invaluable to anyone looking to discover more about this popular, thrillingly creative and empowering form of performance. By the end, you won't just be a better improviser - you'll be a better person!
A handbook for aspiring actors by two of the best-known names in the British theatre and television Written by two of the best-known actors in the country, this short book offers practical advice and do's and don'ts to anyone thinking of taking up acting. Both authors are passionate about actor training, know the profession inside out and, as they say in their intro, have more than a hundred years' experience between them! Writing alternate paragraphs throughout the book - and frequently contradicting each other! - they cover the whole gamut from * Applying to drama school * Auditioning * Training * Working in unpaid productions * Doing 'bits' on telly etc etc and on up to * Getting an agent and * Enduring a West End run - should you be so lucky. Published in slimline format (cf. NHB's Actions), this handy but pleasantly unstuffy manual is essential reading - or an essential gift! -for any aspiring actor.
This is a self-help manual for actors who want to train and develop their voice. Opening with advice on how to use the book and how to prepare our bodies, the author then takes us step-by-step through the constituent elements that make up the voice and the sounds we make with it. Each chapter starts with a brief introduction, then sets out the sequence of relevant exercises, accompanied by simple diagrams, and ends with a summary of what has been learned.
How did acting begin? What is its history, and what have the great
thinkers on acting said about the art and craft of performance? In
this single-volume survey of the history of acting, Jean Benedetti
traces the evolution of the theories of the actor's craft drawing
extensively on extracts from key texts, many of which are
unavailable for the student today. Beginning with the classical
conceptions of acting as rhetoric and oratory, as exemplified in
the writing of Aristotle, Cicero and others, The Art of the Actor
progresses to examine ideas of acting in Shakespeare's time right
through to the present day. Along the way, Benedetti considers the
contribution and theories of key figures such as Diderot,
Stanislavski, Meyerhold, Brecht, Artaud and Grotowski, providing a
clear and concise explanation of their work illustrated by extracts
and summaries of their writings. Some source materials appear in
the volume for the first time in English.
Playing Shakespeare's Lovers examines Shakespeare's romantic characters from multiple perspectives. Contributing actors, directors, educators and scholars bring diverse and wide-ranging insights into the motives, context, history and challenges of performing Shakespeare's "infinite variety" of lovers. The volume begins with an introductory essay, followed by brief essays and interviews, on various characters within the world of Shakespeare's lovers.
Acting Greek Tragedy explores the dynamics of physical interaction and the dramaturgical construction of scenes in ancient Greek tragedy. Ley argues that spatial distinctions between ancient and modern theatres are not significant, as core dramatic energy can be placed successfully in either context. Guiding commentary on selected passages from Aeschylus, Sophocles and Euripides illuminates the problems involved with performing monologue, dialogue, scenes requiring three actors, and scenes with properties. A companion website - actinggreektragedy.com - offers recorded illustrations of scenes from the Workshops. What the book offers is a practical approach to the preparation of Greek scripts for performance. The translations used have all been tested in workshops, with those of Euripides newly composed for this book. The companion website can be found here: www.actinggreektragedy.com
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.
Combining life-coaching and screen-acting tools and techniques in one accessible handbook, this guide empowers actors to overcome personal inhibitions and approach their work, characters and careers with the assuredness to produce powerful, real and believable acting on screen. Structured to build confidence and understanding of yourself before you take on the role of someone else, this book offers the tools and techniques to give you the necessary conviction and self-assurance to perform uninhibited. Dresner then examines essential elements of a screen actor's craft, such as emotions, imagination, nerves, focus, listening, improvisation and line-learning. Published in partnership with The Actor's Centre, the book includes online videos of coaching sessions with professional actors and is ideal for readers and teachers looking to replicate the method in their own training.
Why does Shakespeare write in the way he does? And how can actors
and directors get the most out of his incomparable plays?
Shortlisted for The Society for Theatre's Research's 2013
Theatre Book Prize. Winner to be announced May 9, 2014.
A step-by-step introduction to the key features of the Meisner Technique, including a full set of practical exercises. The Meisner Technique is at the forefront of actor training today: with its radical simplicity it has the power to reconnect actors with their bodies and emotions. Developed by the teacher and actor Sanford Meisner, the technique places emphasis on truthful interaction between actors. The aim is for the actor 'to live truthfully under imaginary circumstances' - to remain truly 'in the moment'. In Meisner in Practice, Nick Moseley offers actors a step-by-step introduction to the salient features of the technique, and puts these to the test through a succession of increasingly challenging practical exercises. He also addresses certain pitfalls and problems that he has encountered over many years of teaching Meisner in drama schools. This book will be of immense value to students, teachers and practitioners in exploring a technique that is becoming increasingly recognized as a core element of actor training.
THE GOOD AUDITION GUIDES: Helping you select and perform the audition piece that is best suited to your performing skills Each Good Audition Guide contains a range of fresh monologues, all prefaced with a summary of the vital information you need to place the piece in context and to perform it to maximum effect in your own unique way. Each volume also carries a user-friendly introduction on the whole process of auditioning. Shakespeare Monologues for Young Women contains 40 monologues drawn from across the whole of Shakespeare's canon. Each speech comes with a neat summary of the vital information (the who, where and when of the speech), plus descriptions of what is happening, what to think about when preparing it, and a glossary. There is also a user-friendly introduction to selecting your speech, tackling Shakespeare's language and approaching the audition itself. "Sound practical advice for anyone attending an audition." - Teaching Drama Magazine on the Good Audition Guides
A treasure trove of advice, support and encouragement that no performer should be without. Honest, witty and direct, The Golden Rules of Acting is every actor's best friend - in handy paperback form. 'When auditioning, rehearsing or in a performance, take a risk - the worst that can happen is that you get embarrassed. You won't die.' Easy to dip into, fully illustrated throughout, and designed to be both instructive and empowering, The Golden Rules of Acting won't tell you how to act - but it will tell you how to be an actor. 'Always remember, the people auditioning you want you to be brilliant. They want you to solve their casting problem.' If you're a working actor, drama-school student, someone who wants to become an actor, or simply someone who has a dream and wants to make it a reality, this book is for you. 'NEVER harmonise when singing 'Happy Birthday' - this has nothing to do with work, it's just all actors do it & it's bloody annoying.' Andy Nyman learnt the golden rules of acting the hard way, through twenty-five years of working in theatre, film and television. On stage, he co-wrote, co-directed and starred in the West End hit Ghost Stories, and won an Olivier Award for Best Entertainment for co-writing and directing Something Wicked This Way Comes with his regular collaborator Derren Brown. His many film appearances include Severance and Frank Oz's Death at a Funeral.
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 book presents truthful human behaviour on stage and screen. It is definitely not a 'how-to' book! This book articulates the intangible - how to capture lightning in a jar. It works to develop awareness in order to help the aspiring actor evolve, grow and mature as a performer. Acting is an art that comes from oneself - no tricks, no special techniques. Every great artist begins as a craftsman then develops into an artist. Each of the 100 plain-speaking lessons in this book is brief and deals with an essential truth. The book is divided into 5 sections: Approach, Fundamentals, Classes and Rehearsals, Performance, and Final Lessons. This is a supplemental work for students and professionals.
Everyone has heard of Method acting . . . but what about Modern acting? This book makes the simple but radical proposal that we acknowledge the Modern acting principles that continue to guide actors' work in the twenty-first century. Developments in modern drama and new stagecraft led Modern acting strategies to coalesce by the 1930s - and Hollywood's new role as America's primary performing arts provider ensured these techniques circulated widely as the migration of Broadway talent and the demands of sound cinema created a rich exchange of ideas among actors. Decades after Strasberg's death in 1982, he and his Method are still famous, while accounts of American acting tend to overlook the contributions of Modern acting teachers such as Josephine Dillon, Charles Jehlinger, and Sophie Rosenstein. Baron's examination of acting manuals, workshop notes, and oral histories illustrates the shared vision of Modern acting that connects these little-known teachers to the landmark work of Stanislavsky. It reveals that Stella Adler, long associated with the Method, is best understood as a Modern acting teacher and that Modern acting, not Method, might be seen as central to American performing arts if the Actors' Lab in Hollywood (1941-1950) had survived the Cold War.
"A workhorse of a book! Beautifully conceived and executed. Clues to Acting Shakespeare is a no-brainer purchase for acting collections in all libraries." -Library Journal Clues to Acting Shakespeare has become a popular guide for actors, directors, teachers and Shakespeare enthusiasts, selling over 15,000 copies of previous editions. This third edition retains the second edition's unique solutions to challenges that face directors and actors at advanced levels and is expanded to include an entirely new section for amateur and community theatre groups. In this new edition, readers will be delighted to find: New section to aid community theatres to perform Shakespeare's plays, including five recorded workshops of community theatre actors coached and trained by the author Updates to the successful sections on training student actors (MFA and BFA programs), and professional actors (including audition tips)-highlighted by twenty author-coached workshops with professional and advanced student actors Improved section for teachers of high school and child actors with worksheets and sample lesson plans New exercises and resources for all levels of acting and production To aid professionals, Clues to Acting Shakespeare offers a one-day brush-up for auditions and preparation to play Shakespeare immediately. Text analysis, character studies, and both classical British training and American methods are explored. The exercises and recorded workshops provide inspiring advice to all actors and demonstrate concepts discussed throughout the book. The critical skills required for acting Shakespeare, including scansion, phrasing, caesura, breathing, speech structure, antithesis, and more are covered in detail. The comprehensive exercises using the Bard's plays and sonnets teach actors to break down the verse, support the words, understand the imagery, and use the text to create vibrant performances.
In 'Digging up stories', James Thompson explores the problems of theatre practice in communities affected by war and exclusion. Each chapter or 'story' is written in a lively and accessible style and draws on a range of contemporary performance theories. The chapters discuss: - participatory theatre in refugee camps - theatre workshop and stories of a massacre - traditional dance-dramas in an insurgent controlled village - 'Forum' theatre with the Mahabharata - ethical issues - the struggle to teach the author to dance 'Digging up stories' documents a range of theatre practice and includes project reports, ethnographic accounts, performance analysis and diary-style reflection. Taken from Thompson's research and practice in Sri Lanka, these diverse examples question the link between applied theatre, traditional performance and performances in everyday life. The book blurs lines between research and travel writing to create rich and provocative accounts of applying theatre in a troubled setting. -- .
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