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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.
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.
"In-Depth Acting provides a comprehensive understanding of character, preparation, text, subtext and objectives. How to prepare for drama school and professional auditions How to develop a 3-dimensional, truthful character Preparation exercises to help you get in character Rehearsal guidelines An appendix of Transitive/Active Verbs and more 'A wonderful, succinct book that no student or professional actor should be without.' Jenny Lipman, LAMDA 'Dee Cannon's classes at RADA were legendary. An inspiring and intensely practical guide for anyone, at any stage of their acting life.' Eve Best 'This is the definitive version of the method I use to approach every role...How wonderful to finally have it all in book form!' Gemma Arterton 'Working with Dee and with this book I feel my process and preparation has been energized, activated and inspired' Ramin Karimloo "
This bestselling book by one of the world's foremost voice and acting coaches is a classic in its field. Practical, passionate and inspiring, it teaches how to use the voice fully and expressively, without fear and in any situation. Patsy Rodenburg has trained thousands of actors, singers, lawyers, politicians business people, teachers and students: her book distills that knowledge and experience so that everyone can enjoy the right to speak. This second edition contains new revisions and additional content taking into account the effect of social media on communication skills, the need for empathetic listening, how scientific discovery now illuminates why and how voice exercises work and cultural and global issues of ethics and storytelling.
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.
A comprehensive guide to winning by enhancing acting skills by Roger Ellis. This text is not a typical shake-and-bake manual of quickie tips on how to do a good audition. No other book puts auditioning in the context of acting training. The nuts and bolts are all here, but this book will do much more. It will develop audition and acting skills in a systematic way over time, throughout the actor's study and career. This book is first and foremost an acting text. It shows auditioning as another kind of acting performance, not a technical exercise or desperate attempt to highlight every skill or talent the actor possesses. It is a step-by-step guide for training young actors to audition well by developing acting skills. Includes more than sixty relevant acting exercises or 'explorations', as well as fourteen sample audition pieces from contemporary playwrights and a wealth of other resource material. An all-encompassing audition text.
Taking many of the techniques explored in her international bestseller "Freeing the Natural Voice", in this companion volume Kristin Linklater shows how to apply them to the speaking of Shakespeare's language. Beginning with exercises designed to break long-held habits and allow an emotional rather than intellectual relationship to Elizabethan language, she analyses Shakespeare's strategies for creating character, story and meaning through figures of speech, iambic pentameter, rhyme and the alternation of verse and prose. Using copious examples from the plays, Linklater offers her readers the tools to increase understanding and make Shakespeare's words their own. First published in the US in 1992, this is the first UK edition of this invaluable guide to speaking Shakespeare.
"As You Like It: The 30-Minute Shakespeare" presents seven captivating scenes from this merry play. Rosalind, disguised as a man ("Ganymede"), "teaches" the art of romantic wooing to Orlando.
The cutting includes Jaques' timeless "Seven Ages of Man" speech; Touchstone the Fool's courtship of Audrey; and the hilarious love triangle between Silvius, Phebe, and Rosalind (as Ganymede). The entire cast joins in the delightful song "A Lover and His Lass" to bring a rousing end to this charming comedy.
The edition includes helpful advice by Nick Newlin on how to put on a Shakespeare production in a high school class with novice actors, as well as tips for performing the specific play and recommendations for further resources.
Classic Voice is an essential guide for teachers, students, and actors who are approaching classical texts. It is a unique resource that provides information, ideas, and plans for dealing with the vocal demands of classical text in workshop contexts. It includes sections on warming up the voice, getting familiar with the language and content, and approaching the text aloud.
In Then What Happens?, Mike Alfreds makes the case for putting story and storytelling back at the heart of theatre. He explores the whole process of adapting for the stage, and investigates the particular techniques - many of them highly sophisticated - that actors require when performing 'story-theatre'. The book includes over two hundred exercises, improvisations and workshops dealing with the practical aspects of story-theatre, such as building an ensemble, creating a physical vocabulary, and transforming written narrative into drama. It draws on examples ranging from traditional legends and folklore, through the works of Jane Austen, Charles Dickens and Evelyn Waugh, to contemporary fiction. Alfreds shows how each story demands its own particular set of dramatic choices, opening up endless possibilities for performance. Then What Happens - like the author's tremendously successful first book, Different Every Night - will be invaluable to directors and actors, to dramatists working in the field of adaptation, to those devising and working from improvisation, and to any theatregoer who has been moved by the power of an unfolding story to ask: 'Then what happens?'
A resource book with over seventy games and lists for using improvisation games to teach drama skills. Classroom tested and proven to be intellectually stimulating and creatively successful.
This sequel edition contains new works from plays produced in the U.S. and Europe. It offers young actors a broad spectrum of challenges with contemporary styles and relevant topics in a variety of lengths. In addition to the scenes and monologues, the book includes nineteen useful exercises for strengthening acting skills. Many of the pieces require that performers dig deep into their imaginations to use their own emotional resources to create the many unique and fascinating characters included in the work. A short acting preface precedes each selection to help guide the actors' interpretations. Six sections: Scenes for Two Women, Scenes for Two Men, Scenes for One Man and One Woman, Monologues for Women, Monologues for Men and Additional Resources. Recommended as a text or a supplemental resource for acting classes.
Performance and Spanish film is the first book to provide a detailed study of screen acting in Spanish film. With fifteen original essays by leading scholars of Spanish film, the book casts light on the manifold meanings, methods and influences of Spanish screen performance, from the silent era to the present day. In doing so, the book provides bold new readings of the work of significant Spanish actors and filmmakers, from Javier Bardem, Penelope Cruz and Alfredo Landa, to Pedro Almodovar, Carlos Saura and Alejandro Amenabar. The fine-grained study of acting in each chapter also provides a means of exploring broader questions surrounding Spanish film practices, culture and society. Performance and Spanish film will be essential reading for both students and scholars of Spanish film alike, as well as to those more broadly interested in the history of screen acting. 'For enthusiasts of Spanish cinema and anyone bewitched by screen acting, this is a dream book. The editors bring together some of the most exciting and imaginative experts on Spanish Cinema writing in English today, as well as presenting a substantial and brilliant introduction to the topic. Each chapter has its own compelling revelations, whether by way of fine-grained analysis or wide new conceptual framings, whether on single named actors, particular films, modes of training, or successive new ways of making films.' Chris Perriam, Professor of Hispanic Studies, the University of Manchester -- .
This book is a complete improv curriculum program divided into twenty class-length workshops. Each workshop contains carefully selected exercises designed to help students focus on one aspect of a character's personality. Students learn how to create characters from their own imaginations through the use of solo and ensemble pantomime, physicalization, vocal techniques, props and more. Gestures, facial expressions, voice and body language are studied in isolation. Many ensemble sketches are included, along with a final improv sketch with enough "roles" for all members of a large class. Also includes class syllabus and guidelines, character outline sheet to duplicate, character examples, and a recommended reading list. Sample workshops include: Improvisation, Character Development, Physicalization, Vocal Techniques, Pantomime, Entrances and Exits, Gibberish, Animals, Fantasy, Conflict, Commedia dell'Arte. Final: Wedding Improv.
A four-section book of acting games and improvisations to assist students in developing their creative abilities. Section one includes games for relaxing and focusing. Section two helps students discover new ways of seeing themselves, others and the world around them. The third section demonstrates with improvisations how to use space to build scenes and create characters from imagination. Section four features acting games to analyze and play characters from existing plays. All of the essential elements of acting and character development are explored. A working textbook for acting students of all ages. Four parts: Relaxing and Focusing Exercises: Acting Games: Improvisations: Exercises for Characters, Scenes and Plays.
'This is a book about how to beat the living daylights out of another human being safely...' Roger Bartlett - professional fight director and Master Teacher for the British Academy of Stage & Screen Combat - leads you through everything you need to know in order to create and perform unarmed stage fights that are compelling, realistic and, above all, safe. Starting with the essential concepts, including Victim Control and Reversal of Energy, you will learn how to perform all of the following moves: Slapping, Punching, Kicking, Strangling, Pulling and Pushing, Falling, Locking, Blocking. Each technique is clearly described, extensively illustrated, and accompanied by online videos demonstrating it in slow motion and at full speed. Also included are chapters on understanding and conveying your character's pain, and creating and rehearsing your own fight sequence. For those already trained in stage combat, it will serve as a comprehensive reminder of what you have learned, and supplement your ongoing training.For amateur, fringe and student companies, the book offers a thorough understanding of the practicalities of staging a fight, but also helps you to recognise when you may need to call upon the services of a qualified professional. Whatever your current level of experience, Stage Combat: Unarmed is the essential book for directors, actors, students and teachers, or indeed anyone looking to incorporate safe, effective stage fights into their productions.
Make a career out of your voice? Easy.
Voice acting is like acting, but just using your voice It's a unique career where the actor's voice can be heard worldwide-in commercials, on audiobooks, in animated movies, documentaries, online videos, telephone systems and much, much more. The point is to bring the written word to life with the human voice.
With step-by-step explanations and an abundance of examples, "Voice Acting For Dummies" is the ultimate reference for budding voice actors on auditioning, recording, producing voice-overs, and promoting themselves as a voice actor.Creating a voice acting demoFinding your signature voiceInterpreting scriptsUsing audio editing softwarePromoting your voice acting talents
If you're an aspiring voice actor or an actor or singer considering a career transition, "Voice Acting For Dummies" has everything you need to let your voice talents soar.
Packed full of practical advice and information on all aspects of the life of a child actor, it is written by the leading children's casting director and administrator in the UK, who has worked on many large-scale West End and touring productions over the last twenty-two years including Oliver!, Les Miserables, Miss Saigon, Mary Poppins, The Sound Of Music, The Secret Diary Of Adrian Mole and Christmasaurus.
'I wish I'd had this book when I was starting out as a young director...I cannot recommend it highly enough.' Marianne Elliott, from her Foreword This dip-in, flick-through, quick-fire resource book in the bestselling Drama Games series offers dozens of ideas and exercises to energise and inspire a bold, creative rehearsal process for any play, of any period or genre. Aimed at directors of all levels, it covers every aspect of rehearsal, including: - Warm-up exercises to prepare the body, voice and mind, and to create a strong ensemble; - Ideas for approaching the text, tackling the 'Story of the Play'; - A wealth of games for unlocking the 'World of the Play', including developing characters, finding a physical style, understanding genre and investigating themes; - Suggestions for exploring sound and music, whether for use in the production or simply to encourage a sense of fun in rehearsals. This essential 'go-to' book will provide you with a host of original and illuminating games, perfect for the play you're rehearsing, be it Shakespeare or Greek tragedy, a Restoration comedy, physical theatre, Modern Naturalism - or even a brand new play. Marianne Elliott, one of the most innovative and exciting directors working anywhere in the world, describes it as a 'beautiful, and very --clearly written book' which will become her 'constant companion in future'.
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.
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.
"The Oberon Book of Modern Duologues" is a unique and useful resource for amateur, student, and professional actors alike, participating in acting classes, contests, auditions, and rehearsals. Arranged according to age suitability--teens, twenties, thirties, forty plus--and sets the plays and individual speeches in their dramatic and performance context.
Stage fright is one of the human psyche's deepest fears. Over half of British adults name public speaking as their greatest fear, even greater than heights and snakes. Laurence Olivier learned to adapt to it, as have actors Salma Hayek and Hugh Grant. Musicians such as Paul McCartney and Adele have battled it and learned to cope. Playing Scared is Sara Solovitch's journey into the myriad causes of stage fright and the equally diverse ways we can overcome it. As a young child, Sara studied piano and fell in love with music. As a teen, she played Bach and Mozart at her hometown's annual music festival, but was overwhelmed by stage fright, which led her to give up aspirations of becoming a professional pianist. In her late fifties, Sara gave herself a one-year deadline to tame performance anxiety and play before an audience. She resumed music lessons, while exploring meditation, exposure therapy, cognitive therapy, biofeedback and beta blockers, among many other remedies. She practiced performing in airports, hospitals and retirement homes. Finally, the day before her sixtieth birthday, she gave a formal recital for an audience of fifty. Using her own journey as inspiration, Sara has written a thoughtful and insightful cultural history of performance anxiety and a tribute to pursuing personal growth at any age.
Directing film or television is a high-stakes oppucatiopn - the white water rafting of entertainment jobs. It captures your full attention at every moment, calling on you to commit every resource and stretch yourself to the limit. But for many directors, the excitement they feel about a new project tightens into anxiety when it comes to working with actors. Directing Actors is a method for establishing creative, collaborative relationships with actors, getting the most out of rehearsals, troubleshooting poor performances, and giving directions that are briefer and easier to follow. The following issues are discussed: * what constitutes a good performance * what actors want from a director * what directors do wrong * script analysis and preparation * how actors work * the director/actor relationship Directing Actors is the first book of its kind. Judith investigates in detail the sometimes painful, often frustrating, but potentially exhilarating relationship between actor and director. It provides simple, practical tools that directors and actors can use immediately - and takes the reader on a journey through the complexities of the creative process itself. tools and suggestions of the book are now superficial band-aids or facile jargon; they are radical excursions into the perhaps most misunderstood artistic collaboration - that of director with actor. Judith Weston brings to this book twenty years of professional acting and nine years of teaching Acting for Directors. Her students include academy Awards and Emmy winning directors, writers and producers of studio and independent feature films, television episodics and MOWs.
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