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The first of its kind, Body, Space, Image is a remarkable book about improvisation - a narrative of discovery that sets the mind loose from the rut of everyday perception. From a starting point in movement, improvisation is extended to include groups working together and the physical setting of performance - space, light , sound, objects. Generously illustrated with examples drawn from the last twenty years of experimental performance, Body, Space, Image explores ways of working and ways of thinking about performance that will inspire both the beginner and the experienced artist. It is a manual intended to stimulate rather than instruct. It offers rich pickings rather than a comprehensive system of working, and includes a unique collection of images - from dance theatre, and painting - and statements by working artists. Words and images combine to celebrate and record one of the most exacting art forms developed this century. Body Space Image has always been in demand as a standard work for dancers and other artists. It is now again reprinted having been unavailable for almost a year.
"Acting: A Drama Studio Source Book" is an invaluable handbook for drama teachers and students for use in the experimental atmosphere of the studio. It describes the basic elements that contribute to a sound technique and illustrates them with a wide range of ideas for informal practice by groups. All the suggestions and examples can be freely adapted to suit different levels of ability and different circumstances.
From well-known auteur of the American theatre scene, Anne
Bogart, And Then, You Act is a fascinating and accessible book
about directing theatre, acting and the collaborative creative
Writing clearly and passionately, Bogart speaks to a wide
audience, from undergraduates to practitioners, and makes an
invaluable contribution to the field tackling themes such as:
Following on from her successful book A Director Prepares, which has become a key text for teaching directing classes, And Then, You Act is an essential practitioner and student resource.
A teacher's handbook of over 140 theatre games designed to stimulate creativity in students of all ages. The games progress from Orientation ("Face to Face, " "You and Me") and Trust ("Catch Me Falling, " "Lead the Blind") to more advanced games that develop the senses, coordination and spontaneity. A section on characters and stories builds improvisational acting skills. All of the essential elements of acting and character development are explored. Sample workshops provide a guide for using the games. Anyone working with young (or old) performers in schools, colleges or community theatre will find this book a valuable resource. Twelve units: Group Orientation; Trust; Warming Up; Developing the Senses; Coordination and Interaction; Cooperation; Reality; Sensitivity and Communication; Transformation, Discovery and Spontaneity; Characters and Stories; Drawing to Music; Creative Quotations.
With On Screen Acting, director Edward Dmytryk and actress Jean Porter Dmytryk offer a lively dialogue between director and actress about the principles and practice of screen acting for film and television. Informal and anecdotal in style, the book spans auditioning, casting, rehearsal, and on-set techniques, and will be of interest to both aspiring and working actors and directors. Originally published in 1984, this reissue of Dmytryk's classic acting book includes a new critical introduction by Paul Thompson, as well as chapter lessons, discussion questions, and exercises.
Stanislavski was the first to outline a systematic approach for using our experience, imagination and observation to create truthful acting. 150 years after his birth, his approach is more widely embraced and taught throughout the world - but is still often rejected, misunderstood and misapplied.In "Acting Stanislavski," John Gillett offers a clear, accessible and comprehensive account of the Stanislavski approach, from the actor's training to final performance, exploring: - ease and focus- the nature of action, interaction and objectives- the imaginary reality, senses and feeling- active analysis of text - physical and vocal expression of character - the actor in the context of training and the industry.Drawing on Stanislavski's major books, in both English translations, and on records of his directing process and final studio classes, "Acting Stanislavski" demystifies terms and concepts. It is for actors from an actor's point of view, and offers many practical exercises and examples as an integrated part of each subject."Acting Stanislavski "also creates an up-to-date overview of the Stanislavski approach, connecting his legacy with the work of his successors, from Michael Chekhov to Meisner, Adler and Strasberg.A new, extended and fully updated edition of "Acting on Impulse: Reclaiming the Stanislavski Approach" (Methuen Drama, 2007), "Acting Stanislavski" now includes new exercises and biographies, a further chapter on The Character, and an expanded glossary along with many other additions to the previous chapters. It is an essential practical and educational resource for any acting student, professional or teacher.
From the authors of the successful Grand-Guignol and London's Grand Guignol - also published by UEP - this book includes translations of a further eleven plays, adding significantly to the repertoire of Grand-Guignol plays available in the English language. The emphasis in the translation and adaptation of these plays is once again to foreground the performability of the scripts within a modern context - making Performing Grand-Guignol an ideal acting guide. Hand and Wilson have acquired extremely rare acting copies of plays which have never been published and scripts that were published in the early years of the twentieth century but have not been published since - even in French. Includes plays written by, or adapted from, such notable writers as Octave Mirbeau, Gaston Leroux and St John Ervine as well as examples by Grand-Guignol stalwarts Rene Berton and Andre de Lorde. Also included is the 1920s London translation of Blind Man's Buff written by Charles Hellem and Pol d'Estoc and banned by the Lord Chamberlain. A brief history of the Parisian theatre is also included, for the benefit of readers who have not read the previous books.
Renowned psychotherapist and career counselor Linda Buzzell is the expert in knowing how to create and develop a career in Hollywood. With this book, she shows you how to look at your personality, your strengths, your weaknesses, your special skills, and your talents in order to target your personal goals and maximize your career success. She then explains all the jobs in Hollywood and how to find them, get them, and advance through each stage in your career.
How To Make It in Hollywood includes everything you need to know about agents, managers, lawyers, the casting couch, chutzpah, schmoozing, networking, Godfather Calls, rhino skin, Power Rolodexes, handling rejection, constant unemployment, and keeping yourself on the track to your dreams when real life keeps telling you to give it all up and move back to Cincinnati!
Rhythm is often referred to as one of the key elements of performance and acting, being of central importance to both performance making and training. Yet what is meant by this term and how it is approached and applied in this context are subjects seldom discussed in detail. Addressing these, Rhythm in Acting and Performance explores the meanings, mechanisms and metaphors associated with rhythm in this field, offering an overview and analysis of the ways rhythm has been, and is embodied and understood by performers, directors, educators, playwrights, designers and scholars. From the rhythmic movements and speech of actors in ancient Greece, to Stanislavski's use of Tempo-rhythm as a tool for building a character and tapping emotions, continuing through to the use of rhythm and musicality in contemporary approaches to actor training and dramaturgy, this subject finds resonance across a broad range of performance domains. In these settings, rhythm has often been identified as an effective tool for developing the coordination and conscious awareness of individual performers, ensembles and their immediate relationship to an audience. This text examines the principles and techniques underlying these processes, focusing on key approaches adopted and developed within European and American performance practices over the last century. Interviews and case studies of individual practitioners, offer insight into the ways rhythm is approached and utilised within this field. Each of these sections includes practical examples as well as analytical reflections, offering a basis for comparing both the common threads and the broad differences that can be found here. Unpacking this often mystified and neglected subject, this book offers students and practitioners a wealth of informative and useful insights to aid and inspire further creative and academic explorations of rhythm within this field.
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