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Written by an experienced teacher, and illustrated by line drawings and photographs, this book takes the actor step by step through the crucial process of choosing and performing an audition piece.
A comprehensive study of George Clooney's work through the lens of ten of his most iconic roles. A new title in the fascinating Anatomy of an Actor series from world-renowned cinema magazine Cahiers du cinema. This book explores the career of George Clooney (b.1961). A TV heartthrob doctor for five years, he made one of the most successful transitions from television to being a critically acclaimed, Oscar-winning film actor starring in both mainstream and art-house films. An accessible text combines both a narrative and analytical dimension and is illustrated by 300 film stills, set photographs and film sequences The book will appeal to enthusiastic moviegoers as well as serious cinephiles, fans, and those who want to become actors.
6 working actors describe their methods and philosophies of the theater. All have worked with playwright David Mamet at the Goodman Theater in Chicago.
The Art of Speech presents a dynamic path of practice leading to an experience of the Word as a living, healing and creative power. Helping to deliver Western intellectual speech from what Artaud described as 'shrivelled throats' and 'monstrous talking abstractions', Langman brings to life the spiritual realities out of which a true Art of Speech arises. Inspired by Rudolf Steiner and pioneered initially in the German language by Marie Steiner, this artform is illuminated here through the genius of the English language. Langman builds a bridge between mainstream research into the intrinsic nature of Speech, and the levels of spiritual cognition that led to Rudolf Steiner's insights. Speech and language can no longer be reduced to an arbitrary collection of abstract symbols, she asserts. This book will inspire those working with these disciplines as practitioners (both artistic and therapeutic) as well as those who wish to understand their significance in human evolution, both past and future. Following her first book The Art of Acting, this volume completes a foundation of understanding for an exploration - in the conclusion of Langman's trilogy - of an integrated art of speech and acting. Grounded in the spiritual reality of the human being, Langman presents a systematic methodology with which to explore Rudolf Steiner's Speech and Drama Course.
There are about ten books in the world on stage performance training. Most of them are in English, but there are a few in Spanish. There are none in Russian, although the father of modern theater, Konstantin Stanislavski, was born in Russia. In singing, regardless of genre and style, the element of stage performance is missing. There is no normal training for communicating with the audience. It is accepted by most vocal pedagogues that it is enough to sing the notes correctly, but there is much more to do. For singers who study opera and operetta, it is essential to stretch the limits of performance, and that is why they also study acting. For everyone else, this is not necessary, because they have other tasks on stage. They must learn to self-regulate, not to wait for directional instructions. This book is valuable in that it teaches singers to direct their own stage performance. Representing the author's conclusions based on careful analysis of a number of successful and unsuccessful stage performances of numerous singers of different stature, it gives them the basic knowledge and guidance on how to approach and develop their show from one song to one concert. It teaches singers how to be more successful on stage, how to be more charismatic and how to manage their audience the way they want.
Stella Adler (1901-92) trained many well-known American actors yet throughout much of her career, her influence was overshadowed by Lee Strasberg, director of the Actors Studio. In Beyond Method: Stella Adler and the Male Actor, Scott Balcerzak focuses on Adler's teachings and how she challenged Strasberg's psychological focus on the actor's ""self"" by promoting an empathetic and socially engaged approach to performance. Employing archived studio transcripts and recordings, Balcerzak examines Adler's lessons in technique, characterization, and script analysis as they reflect the background of the teacher-illustrating her time studying with Constantin Stanislavski, her Yiddish Theatre upbringing, and her encyclopedic knowledge of drama. Through this lens, Beyond Method resituates the performances of some of her famous male students through an expansive understanding of the discourses of acting. The book begins by providing an overview of the gender and racial classifications associated with the male ""Method"" actor and discussing white maleness in the mid-twentieth century. The first chapter explores the popular press's promotion of ""Method"" stars during the 1950s as an extension of Strasberg's rise in celebrity. At the same time, Adler's methodology was defining actor performance as a form of social engagement-rather than just personal expression-welcoming an analysis of onscreen masculinity as culturally-fluid. The chapters that follow serve as case studies of some of Adler's most famous students in notable roles-Marlon Brando in A Streetcar Named Desire (1951) and The Missouri Breaks (1976), Robert De Niro in Taxi Driver (1976), Henry Winkler in Happy Days (1974-84), and Mark Ruffalo in The Avengers: Age of Ultron (2015). Balcerzak concludes that the presence of Adler altered the trajectory of onscreen maleness through a promotion of a relatively complex view of gender identity not found in other classrooms. Beyond Method considers Stella Adler as not only an effective teacher of acting but also an engaging and original thinker, providing us a new way to consider performances of maleness on the screen. Film and theater scholars, as well as those interested in gender studies, are sure to benefit from this thorough study.
A set of three DVDs professionally produced to a high broadcast quality presents an unprecedented level of access to the practice of the Chekhov technique. This collection provides six hours of filmed workshops by world-renowned Chekhov experts demonstrating his approach to actor-training, including: exercises in body awareness 'the four brothers' - Ease, Form, Beauty, and sense of the whole qualities of movement - molding, floating, flying and radiating psychological gestures imagining a different physical body of a character. The DVD's bring to life all the essential elements of the Michael Chekhov technique in a way which is clear, engaging, practical and dynamic. It is a unique and essential training tool for all teachers, students, actors and directors and a copy should be in every library in every institution. Produced by the Michael Chekhov Association, the classes feature many of the world's leading practitioners and teachers of the Michael Chekhov Technique, including teachers Ragnar Freidank, Joanna Merlin, Lenard Petit, Ted Pugh and Fern Sloan with actors Dawn Arnold, Bethany Caputo, Jessica Cerullo, John Capalbo, Anne Gottleib, Hugh O'Gorman and Mel Shrawder. The classes are followed by a panel discussion with Jack Colvin, Joanna Merlin and Mala Powers.
Harold Guskin is an Acting Doctor whose clients include David Suchet, Glenn Close, James Gandolfini, Bridget Fonda and dozens more. In HOW TO STOP ACTING he reveals the insights and techniques that have worked wonders for beginners as well as stars. Instead of yet another 'method', Guskin offers a strategy based on a radically simple and refreshing idea: that the actor's work is not to 'create a character' but rather to be continually, personally responsive to the text, wherever his impulse takes him, from the first read-through to the final performance. From this credo derives an entirely new perspective on auditioning and the challenge of developing a role and keeping it fresh, even over hundreds of performances. Drawing on examples from his clients' work and his own, Guskin presents acting as a constantly evolving exploration rather than as a progression toward a fixed goal. He also offers sound and original advice on adapting to the particular demands of television and film, playing difficult emotional scenes, tackling Shakespearean and other great roles." The Great Guskin" - John Lahr, The New Yorker "Reading Harold Guskin's book HOW TO STOP ACTING was like someone slowly removing handcuffs that have been on for a very long time. A method of working was given to me at drama school and with a few variations, here and there, has served me well for thirty-five years. More recently, however, I wanted to be free of 'a way' of working and Harold's approach to acting was the much-needed key to the freedom that I wanted. I was influenced by Stanislavsky and Method acting, often feeeling guilty if I failed to use them in the studying of my script and in the development of a character! Applying Harold's HOW TO STOP ACTING has allowed me to work much more freely and instinctively and therefore more truthfully and being truthful has always been, for me, the ultimate goal. Thank you Harold!" David Suchet
Strasberg, the father of Method Acting, explains in this book his Method--for the first time in his own words. "Essential reading for actors, directors and students of theater".--Publishers Weekly. Advertising in newspapers and theater publications. Two 8-page photo inserts.
Twelve leading actors, including Alan Rickman, Chiwetel Ejiofor, Eileen Atkins, Ian McKellen and Patrick Stewart, discuss playing twelve key Shakespearean roles.
A collection of texts by Eugenio Barba reconstructing the history of his relationships with the Asian classical theatres. Interweaving stories of journeys, meetings, anecdotes, reflections and technical descriptions, the author exposes the phases and changes in a passion that covers the fifty years of his professional trajectory. Little known or unpublished texts are included together with widely diffused articles which have become classics. The result is a book which examines in detail an important chapter of the dialogue between East and West in the theatre culture of the twentieth century.
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