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This handbook is a companion volume to Stanislavski's three teaching books, "An Actor Prepares", "Building a Character" and "Creating a Role". It is a selection of articles, speeches, notes and memoirs written between 1898, when the Moscow Art Theatre opened, and his death in 1938. Among the items are a series of letters on the interpretation of "Othello", the long and affectionate article "Memoirs of Chekhov" and a final section in which Stanislavski envisages the theatre and actors of the future.
Blue Sky Body: Thresholds for Embodied Research is the follow-up to Ben Spatz's 2015 book What a Body Can Do, charting a course through more than twenty years of embodied, artistic, and scholarly research. Emerging from the confluence of theory and practice, this book combines full-length critical essays with a kaleidoscopic selection of fragments from journal entries, performance texts, and other unpublished materials to offer a series of entry points organized by seven keywords: city, song, movement, theater, sex, document, politics. Brimming with thoughtful and sometimes provocative takes on embodiment, technology, decoloniality, the university, and the politics of knowledge, the work shared here models the integration of artistic and embodied research with critical thought, opening new avenues for transformative action and experimentation. Invaluable to scholars and practitioners working through and beyond performance, Blue Sky Body is both an unconventional introduction to embodied research and a methodological intervention at the edges of contemporary theory.
"a work on the art and craft of comedy as important in its own way as works by Stanislavski and Chekhov" - Oxford Theatre Companion In 1939, a young, inexperienced actor wrote to a famous actress of his acquaintance, asking for advice on playing comedy. She responded enthusiastically, and they corresponded variously over the next year. The Craft of Comedy, a record of these exchanges, soon emerged as one of the few classic texts in the field of comedy acting. This major new edition takes a brilliant book and makes it better. Editor Robert Barton has devised extensive supplementary material, including: An introduction to the correspondents, the culture of the time, and the evolution of their book; Summaries, definitions, and exercises and practice scenes for readers wishing to explore Athene Seyler's invaluable advice; Photographs, additional essays by Seyler, and a guide to easily accessed video clips of her performing. Seyler's lucid guidance, and Barton's scrupulous editorship, ensure this legendary work's rightful status is restored: as one of the great practical guides to the craft of comedy, and an essential resource for actors and students of acting.
Many theatre practitioners think of physical theatre as one thing and text-based theatre as another. In this book, Dymphna Callery, author of Through the Body: A practical guide to physical theatre, shows how exercises and rehearsal techniques associated with physical and devised theatre can be applied to scripted plays. Working 'through the body' enables performers to discover what really makes a play work. Drawing on key practitioners, including Jacques Lecoq, Joan Littlewood, Peter Brook and Simon McBurney, The Active Text offers a complete approach to working with a scripted play, leading the reader through a process of active exploration and experimentation that includes: Uncovering a play's internal dynamics; Using improvisation and theatre games; Exploiting the languages of the body; Getting inside the words that are spoken (as well as those that are aren't!) ; Discovering image structures; Understanding the impact on the audience Throughout the book, the author draws on a core selection of well-known texts (from Sophocles and Shakespeare to Brecht, Arthur Miller, Steven Berkoff and Sarah Kane), showing how an active approach to text can challenge assumptions about even the most familiar of plays. Packed with theatre games, improvisation exercises and rehearsal techniques, The Active Text is an inspirational guide for performers, directors, students and teachers. It will revitalise work in the rehearsal room, workshop or classroom - anywhere that dramatic text needs to be brought to life.
From the bestselling Drama Games series, this dip-in, flick-through, quick-fire resource book offers dozens of games to serve as a rich source of ideas and inspiration for all actors - and those teaching or directing them.This must-have companion is divided into three sections, each focusing on a different aspect of the actor's process:Self provides methods to deepen relaxation, sharpen focus, boost energy, expand imagination and enable a company of actors to work collaboratively. Character suggests strategies to aid the process of transformation, encouraging actors to explore characteristics that are distinct from their own. And Text offers exercises to unlock the words, allowing free and imaginative work within the structure of a script, without losing specificityThe games range from solo explorations which can be performed alone, to ideas for pairs and group work - making them suitable for a wide variety of scenarios and requirements. Overall, the book will serve as an essential foundation for every actor's creativity, helping improve preparation, rehearsal and performance.'A mass of invaluable ideas for all ages and all types of actors, amateur or professional. It's hard to imagine anyone involved in theatre who wouldn't find it useful.' Richard Eyre, from his Foreword
As one of the most well-known names in theatre history, Konstantin Stanislavsky's teachings on actor training have endured throughout the decades, influencing scholars and practitioners even in the present day. This second edition of Konstantin Stanislavsky combines: an overview of Stanislavsky's life and work, including recent discoveries an assessment of his widely read text, An Actor Prepares (1936) with comparisons to Benedetti's 2008 translation, An Actor's Work detailed commentary of the key 1898 production of The Seagull an indispensable set of practical exercises for actors, teachers and directors. As a first step towards critical understanding, and as an initial ex- ploration before going on to further, primary research, Routledge Performance Practitioners are unbeatable value for today's student.
All actors and acting teachers need "The Ultimate Scene and Monologue Sourcebook, " the invaluable guide to finding just the right piece for every audition. The unique format of the book is ideal for acting teachers who want their students to understand each monologue in context. This remarkable book describes the characters, action, and mood for more than 1,000 scenes in over 300 plays. Using these guidelines, the actor can quickly pinpoint the perfect monologue, then find the text in the Samuel French or Dramatist Play Service edition of the play. Newly revised and expanded, the book includes the author's own assessment of each monologue.
"The Expressive Actor" is an innovative guide to training your body, mind, and spirit to deliver top-notch dramatic performances. Master teacher Michael Lugering's pioneering approach and smart exercises synthesize the traditionally disparate disciplines of acting, voice, and movement into one unified method by placing you in direct contact with the physical sensations that are responsible for expressing your body's deepest, richest thoughts and feelings. Lugering leads you through a series of voice and body exercises and a companion set of improvisational studies. His full-body actor's workout increases physical and vocal expressiveness by building the requisite dexterity, flexibility, strength, and freedom you need. Meanwhile the improvisations expand your emotional expressiveness by developing an awareness of and control over impulse, spontaneity, and creativity. The techniques in "The Expressive Actor" are repeatable, ideal for daily preparation, and can be practiced alone or with others to keep the voice and body ready for the demands of rehearsal and performance. Part inspiration and part perspiration, Lugering's technique is thoroughly researched and brings together recent discoveries in philosophy, somatic psychology, neuroscience, and aesthetics to create a powerful new way to train your voice, your body, and your feelings. Physical, intuitive, and fundamental, "The Expressive Actor "will plumb your body for the same kinds of energy and information that highly intellectualized actor-training methods of the twentieth century pull from the brain, then show you how to join them to create spectacularly human performances. Whether you act Shakespeare or Simon, Wycherley or Wasserstein, Moliere or Mamet, train the total actor inside you with the ideas and etudes in "The Expressive Actor." You'll changeforever how you communicate with yourself, with other actors, and with your audience.
A lively, critical study of one of the most important innovators, thinkers and directors in contemporary world theatre: Tadashi Suzuki. This book explores Suzuki's theatre practice and contains a DVD with practical Suzuki Method actor-training examples. For over forty years Tadashi Suzuki has been a unique and vital force in both Japanese and Western theatre, creating and directing many internationally acclaimed productions including his most famous production, The Trojan Women, which toured throughout the world. Dr Paul Allain, an experienced practitioner of the Suzuki Method, re-evaluates Suzuki's work, his development towards an international theatre aesthetic and his impact on performance all over the world. The DVD covers an actor training session (featuring both novices and an experienced practitioner with over ten years of Suzuki training) showing the physical moves. "Captures aspects of Suzuki's work with an insider's grasp of theatre-making - an informative and inspirational read" From the foreword by Katie Mitchell.
"Improvising Better "is an easy to read self-help book created with the new generation of improviser in mind. It's written for today's performers, looking for a quick fix to their performance problems. This book is a fast read with long-lasting results.
Jimmy Carrane and Liz Allen have improvised, taught, and directed in Chicago for over thirty years combined, and have either seen or experienced the most common problems facing improvisers today. "Improvising Better" will give you simple tools for repairing your improvisation through original and enhanced exercises. This book addresses the improviser as a whole, including how offstage issues affect onstage performance. Speaking candidly about this very personal art form, Carrane and Allen offer common-sense solutions, some tough love, and a little inspiration along the way.
Whether you are a beginner or a veteran, "Improvising Better" will catapult you to the next level in your career as a working improviser.
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!
(Applause Books). There has been a great change in the last twenty years to actor auditions, which now require the demonstration of enormous flexibility. The actor is often expected to show more range than ever before, and often several shorter audition speeches are asked for instead of one or two longer ones. To stay at the top of his or her game, the Shakespearean actor needs more knowledge of what makes the play tick, especially since the early plays demand a different style from the later ones. Each genre (comedy, history, tragedy) has different requirements. No current monologue book deals directly with the bulk of these concerns. One More unto the Speech, Dear Friends now fills that gap. This three volume set will help actors discover the extra details of humanity that the original folio texts automatically offer. Of Shakespeare's 37 plays, only Pericles is not included. In the trilogy of books there are over 900 separate audition possibilities. This represents about 600 more monologues than are available in any other series. There are four parts to each speech: * A background giving context and approximate timing; * A modern text version; * The original folio version; * Commentary to explain the differences between the two texts including full discussion of the devices peculiar to that speech's genre, the age and gender of the character, and more.
A practical guide for actors who want to work in the corporate sector, by a veteran with over 1400 corporate events to his credit. Thousands of actors in the UK make their living not from treading the boards but in the conference centres and training rooms of the nation's corporate sector. In this, the first book to be published about the increasingly accessible and lucrative business of corporate acting, Paul Clayton shows how this sort of work - training, coaching, role-plays, Forum Theatre and live events - can keep you in paid employment, and your skills sharp, whilst you look for other acting opportunities. He takes you through every aspect of the industry, with a series of practical examples and invaluable tips at every stage, including: * What sort of work is available - and how you can get it * The various role-play techniques you'll encounter * The dos and don'ts for offering constructive feedback to your clients * What Forum Theatre is - and how to do it * How to handle live events - and escape with your dignity intact Written with humour and great insight, So You Want To Be A Corporate Actor? encourages you to look at your skills from a business point of view, enabling you to take control over your own career. It is a must-read for any actor wishing to broaden their skills and make themselves more employable at all stages of their career. 'For actors wishing to utilise their theatrical skills within the corporate world, this book should be their bible. It is crystal clear, informative and irreverent - and lays out in simple terms how actors need to think and present themselves to be employable.' Janet Rawson, Co-founder of Steps Drama Learning Development
What can the Globe Theatre tell us about performing Shakespeare? Unearthing Shakespeare is the first book to consider what the Globe, today's replica of Shakespeare's theatre, can contribute to a practical understanding of Shakespeare's plays. Valerie Clayman Pye reconsiders the material evidence of Early Modern theatre-making, presenting clear, accessible discussions of historical theatre practice; stages and staging; and the relationship between actor and audience. She relays this into a series of training exercises for actors at all levels. From "Shakesball" and "Telescoping" to Elliptical Energy Training and The Radiating Box, this is a rich set of resources for anyone looking to tackle Shakespeare with authenticity and confidence.
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.
Includes 110-minute DVD
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