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Outlining different perspectives, this classic and field-defining text introduces 'dramaturgy' as a critical concept and a practical process in an accessible and engaging style. The revised edition includes a new introduction and afterword which provides insight into contemporary developments and future directions of scholarship.
This collection of performance scripts runs the entire gamut of teenage joys, insecurities and tragic difficulties. They challenge both the performer and the audience with situations that require thinking to resolve. They are superb for classroom use, contest competitions, discussion-starters or audition scripts. The book is divided into three sections: TRIOLOGUES - separate monologues for three performers speaking viewpoints on a single theme; DUOLOGUES - monologues for two performers on a theme; MONOLOGUES - one-person commentaries on a wide variety of subjects, happy and sad. All of the monologues are non-theatrical in style - they speak as teenagers live and move.
As the nonprofessional theatre continues to grow in popularity, its technology expands at a dizzying rate, presenting exciting new opportunities and challenges for all nonprofessional theatre craftsmen. This new edition of a stage manager's old friend takes into account many aspects of the new theatre technology, insuring the book's lasting place in college, high school, and community theatres everywhere. It is a book more likely to be found backstage on a stepladder than on a library shelf, and this is exactly what the author has intended. The emphasis is on simplicity, economy, and practicability. It is a book that can help now to put any play into production.
In one handy volume, a concise course on all phases of acting and stage movement. Speech control, interpretation of a character style--all the essentials of good acting are fully reviewed. Every phase of acting and motion is included: sitting, walking, standing, hand and arm coordination and opposition, the eyes, the head, body movement, exits and entrances, mechanics of emotional range and relaxation and tension. A fully illustrated book. Sample chapters include: The Actor's Dilemma: Need for Technique; "Speak the Speech, I Pray You"; Sult the Action to the Work; Interpretation of Character; The Play's the Thing; Style; Feet When Sitting, Standing and Walking; Hands When Sitting, Standing and Walking; The Mechanics of Relaxation and Tension; The Mechanics of Pause; The Emotional Range--Mental and Vocal; Coordination of Speech with Movement.
This original, incisive book examines questions relating to the self-imposed barriers - or roadblocks - that actors place on their work. Rob Roznowski demonstrates how roadblocks often limit and constrain actors from accessing the emotional availability required in their unique craft. He then offers a systematic approach for achieving peak performance in order to defeat the self-doubt that can hinder actors. He also offers guidance for educators and directors to compassionately assist actors toward gaining freedom. Incorporating perspectives from psychological consultants, the book book co-mingles psychology and acting theory in a unique way, presenting practical strategies for dealing with a range of roadblock issues that actors face daily, including anxiety, intimacy, self-esteem and trust. This is an ideal resource for practitioners, instructors, and students of Acting, Theatre and Performance at any level.
A step-by-step guide to physical theatre in both theory and practice. The book is full of detailed exercises and inspiring ideas. There is also a bibliography and a contact list of training courses in the UK and abroad. Structured on a foundation learned from 12 years of teaching, Dymphna Callery's book introduces the reader to the principles behind the work of certain key 20th-century theatre practitioners (Artuad, Grotowski, Meyerhold, Brook and Lecoq, among others) and offers exercises by which their theories can be turned into practice and their principles explored in action. The book takes the form of a series of workshops starting with the preparation of the body through awareness, articulation, energy and neutrality. A section on mask-work is followed by further work on the body, investigating presence, complicite, play, audience, rhythm, sound and e-motion. The book culminates in sections on devising and on the physical text.
A semester-long curriculum guide using improv games to teach basic drama skills. If used with Improv Ideas by the same authors, there are enough games and ideas to provide for more than a year's work. Select from more than 134 games! It's adaptable to all age groups - from beginners to experts. The lessons are structured sequentially with emphasis on group building. It's designed to teach holistically. Students are unaware they are being taught many new skills with every lesson. This curriculum is the culmination of many years of evolution and testing.
In the second volume of his "Mask: A Release of Acting Resources" David Griffiths provides a detailed and sensitive view of the Japanese Noh theatre: historically, philosophically (with an evaluation of Zeami's treatises) and in respect of the rigorous practicalities of Noh training. The latter is given particular authority and insight because of the access Griffiths had to Noh actors in training and performance. Greatly enhanced by the author's illustrations, this volume gives one of the most accessible introductions to Noh that is available in English. Appended to the descriptive and analytic material is a short play, "The Dove," written by Griffiths (and subsequently professionally performed) described as 'unashamedly' acknowledging its Noh influence. This one woman piece is a sensitive and evocative drama with subtle references to its cultural source. Its potential as an exercise in mask work is excellent.
"From Acting to Performance" collects for the first time major
essays by performance theorist and critic Philip Auslander.
The core goal of Directing Screen Performances is to teach aspiring directors how to prepare and work with actors. Through a practical exploration of the major approaches to contemporary screen acting, you will learn how to formulate your own effective modes of communication to craft compelling performances. Directing performances for the screen starts well before the actor is cast and finishes well after the last slate is shot. In this book you will learn how to analyze a script, brief the casting director, rehearse the actors, decide on the visual treatment that enriches their performances, direct effectively on set and finesse the character in the edit. The director's process is clearly defined and augmented with illustrations, photographs and graphics, and each chapter concludes with practical exercises to consolidate the new knowledge.
Women in Russian Theatre is a fascinating feminist counterpoint to
the established area of Russian theatre populated by male artists
such as Stanislavsky, Chekov and Meyerhold. With unprecedented
access to newly-opened files in Russia, Catherine Schuler brings to
light the actresses who had an impact upon Russian modernist
Click here to download the MP3 resourcepack Mac users: click here to download the MP3 resourcepack Theessential handbook for every actor Inevery drama school, in every English-speaking country, students from all overthe world have to learn a Standard English Accent, and voice and drama tutorshave to teach it. But what exactly is it? How many varieties are there? Andwhich one should they use when? Followingon from How To Do Accents, this book provides a long awaited,up-to-date answer to these important questions andoffers a complete course in how to do ANeutral Standard English Accent & Upperand Upper-Middle Class Varieties Part One: contains all the tools you need to learn a current Neutral Standard English Accent; neutral in terms of class, race, age, gender, occupation and social background Part Two: introduces you to the following most useful Upper and Upper-Middle Class varieties of Standard English Accent
How do you prepare for your first day on the set? Why might a bad audition lead to a good job offer? How should you research? What's the effect of a long tour on your love-life? Can you have a glass of wine before a matinee? What's the difference between transitive and intransitive corpsing? What is stage fright? In Michael Pennington's highly personal guide and memoir there are sections on rehearsals, on television then and now, on who does what on a film set, on the disciplines and rewards of musical theatre, and five directors discuss why the scenery is better on radio. Disability and racial bias in the theatre are discussed and we sometimes hear from other, younger voices who are following parallel paths. Infectiously enthusiastic, both conversational and profound, Let Me Play the Lion Too draws on the author's fifty years of experience to celebrate the deadly serious, sometimes hilarious, often misunderstood but infinitely enriching life of a professional actor.
Gender specific! Not just another book of scenes but a wide variety of topics and situations fine-tuned to recreate the day-to-day experiences of young women. This wonderfully diversified collection of monologs, dialogs, trios and quartets deals with subjects of self-discovery, survival in the real world, and daunting decisions both tragic and trivial. These sixty characterizations will make both performers and audience laugh, cry and know themselves better. Excellent for speech contests, acting exercises or auditions. Lengths vary from two minutes to six minutes each. A superbbook for any drama library. Sample titles: Mom or Me. Winners, Losers, First Date, Hurricane Force. He Promised Never Again, Bestest Dog, Nowheresville, Cyber Romance, The Last Kiss of Summer.
This new resource for both budding and existing actors fills a gap in the drama school curriculum by boldly posing questions and suggesting answers about life in the industry that before now have been neglected, avoided or ignored. Starting from the 3rd year of drama school, and on to life as a working actor, this book offers information that is current, relevant and from the frontline. Using an informal, unapologetic and at times humorous tone it highlights the most productive and constructive ways to succeed whilst mapping out and commenting on the perks and pitfalls that an actor must face. Devoid of gimmicks and quick-fixes, it offers professional advice for those about to graduate, continuing right through the career of a working actor. Chapters concentrate on working in the theatre, on screen and in voiceovers whilst also addressing more practical, day to day issues such as finance, auditions, getting/keeping an agent, as well as how to function when out of work - something no one mentions at drama school! Without claiming to be a book of answers or a ticket to success, it is an honest account of what the life and business of being an actor is actually about, with no other intention than to motivate, encourage and prolong the careers of the actors of tomorrow. Written by a young, tenacious actor herself, this is advice from the horse's mouth, from a person who has been through it and is still doing it. This book also features conversations with up-and-coming professionals in the industry, including directors, agents, casting directors and other working actors. A book not only to assist actors in earning their title, but one that is designed to ensure that they keep it.
Real life teen dilemmas written as comedy. These thirty short plays give teenage performers a chance to portray the drama of their everyday lives. They may act crazy, push boundaries and discover themselves as the plays permit them to show off their talents. The actors can create outrageous characters in the context of situations they know so well. Sample titles include: "The Kissing Booth", "Four Boyfriends", "Last Free Summer" and "The Babysitter". Inexperienced actors will come alive as performers because they playlets offer natural dialog and believable situations. The plays are for two to six actors. It is excellent for contest use.
A collection of scenes from plays by contemporary playwrights, divided into several age groups and accompanied by performance hints and exercises.
Did you know that "an actor must believe to make his audience believe?" This is the key concept behind ACTING IS BELIEVING. Authors Charles McGaw and Larry D. Clark have influenced thousands of actors, and this Twelfth Edition has been completely updated by Kenneth Stilson to inspire today's future acting professionals. New exercises keep the content current and relevant. You'll learn the Stanislavski System and how to perfect using it, and benefit from hundreds of other tips that help you become the flawless actor you are meant to be. The final chapter, "Getting the Job," will help you find a job in the acting industry by discussing the latest approaches to auditioning and marketing.
"Different Every Night" is the culmination of a lifetime of work in the theatre, the most complete rehearsal methodology in print since Stanislavsky. It offers a vital masterclass for actors and directors, full of sound practical advice and guidance, and is packed with techniques for bringing the text to life and keeping it alive - both in rehearsal and performance.
The monologs in this new text are highly original works not found in other published versions. All are from very recently produced plays from both established and emerging new writers. The fifty selections are specifically suited to auditioning. The monologs in this collection are for actors 15 to 30 years of age, suitable for competitive auditioning, class or studio work, or general reading. About two-thirds of the selections are for women, and about one-third are specifically for minority actors. These monologs address the major trends and conflicts of today, through revealing glimpses of society as we know it. Includes the work of forty-seven contemporary American playwrights. A must for any auditioning actor or theatre student. Featuring monologs from: Retro and Sea of Forms by Megan Terry, Voice of the Prairie by John Olive, Night Luster by Laura Harrington, Stuck by Adele Edling Shank, Punk Girls by Elizabeth Wong, Sunday Sermon by David Henry Hwang, Abingdon Square by Maria Irene Formes, Les Trois Dumas by Charles Smith, Prodigal Kiss by Caridad Svich, Rough Stock by Ric Averill and many more.
The Improv Book is a smart, witty and accessible manual guiding you through the rewarding and joyful practice of improvisation. * Classic improv games and variations* Improv scenarios * How improv can be used for making theatre and comedy, from monologues to full-scale productionsThe book will be an asset to students and teachers of improvisation in schools, drama schools, higher education and theatre groups, both professional and amateur. It will also benefit organisations and individual readers who want to discover how improv could stimulate creativity and confidence in all areas of life. Improv can be practised at any level, and used for multiple purposes, from bonding together students or co-workers, to working up a speech, to discovering the underlying meanings of a play-text, to devising a full-blown song and dance show. The Improv Book opens up this exciting discipline to a wider audience.
For over 20 years, Moni Yakim has taught his unique blend of physical training and emotional exploration to a generation of American actors that include Meryl Streep, Sigourney Weaver, and Kevin Kline. Now, for the first time, his acting process is available to every actor and theater professional.
Part clown manual, part storytelling and part rant - The Clown Manifesto covers the experiences, philosophies and methods of the clown performer/director/teacher Nalleslavski.A book for clowns, physical comedians, actors, musicians, jugglers, puppeteers, magicians, street performers and dancers. Whatever form your clowning takes - theatre, street theatre, comedy, burlesque, magic, circus - the mischievously named Nalleslavski Method gives you practical tools to create comedy material that works universally, across cultural and language barriers.
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