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.

A practical guide to the principles of teaching and learning movement, this book instructs the actor on how to train the body to become a medium of expression. Starting with a break-down of the principles of actor training through exercises and theatre games, Dick McCaw teaches the actor about their own body and its possibilities including: the different ways it can move, the space it occupies and finally its rhythm, timing and pacing. With 64 exercises supported by diagrams and online video, Dick McCaw draws on his 20 years of teaching experience to coach the reader in the dynamics of movement education to achieve a responsive and articulate body.

Analysing why we laugh and what we laugh at, and describing how performers can elicit this response from their audience, this book enables actors to create memorable - and hilarious - performances. Rooted in performance and performance criticism, Sidney Homan and Brian Rhinehart provide a detailed explanation of how comedy works, along with advice on how to communicate comedy from the point of view of both the performer and the audience. Combining theory and performance, the authors analyse a variety of plays, both modern and classic. Playwrights featured include Harold Pinter, Tom Stoppard, Christopher Durang, and Michael Frayn. Acting in Shakespeare's comedies is also covered in depth.

An edited collection of essays exploring the work and legacy of the academic and theatre-maker Clive Barker. Together, the essays trace the development of his work from his early years as an actor with Joan Littlewood's company, Theatre Workshop, via his career as an academic and teacher, through the publication of his seminal book, Theatre Games (Methuen Drama). The book looks beyond Barker's death in 2005 at the enduring influence of his work upon contemporary theatre training and theatre-making. Each writer featured in the collection responds to a specific aspect of Barker's work, focusing primarily on his early and formative career experiences with Theatre Workshop and his hugely influential development of Theatre Games. The collection as a whole thereby seeks to situate Clive Barker's work and influence in an international and multi-disciplinary context, by examining not only his origins as an actor, director, teacher and academic, but also the broad influence he has had on generations of theatre-makers.

This international collection brings together scientists, scholars and artist-researchers to explore the cognition of memory through the performing arts and examine artistic strategies that target cognitive processes of memory. The strongly embodied and highly trained memory systems of performing artists render artistic practice a rich context for understanding how memory is formed, utilized and adapted through interaction with others, instruments and environments. Using experimental, interpretive and Practice-as-Research methods that bridge disciplines, the authors provide overview chapters and case studies of subjects such as: * collectively and environmentally distributed memory in the performing arts; * autobiographical memory triggers in performance creation and reception; * the journey from learning to memory in performance training; * the relationship between memory, awareness and creative spontaneity, and * memorization and embodied or structural analysis of scores and scripts. This volume provides an unprecedented resource for scientists, scholars, artists, teachers and students looking for insight into the cognition of memory in the arts, strategies of learning and performance, and interdisciplinary research methodology.

Thinking Through Theatre and Performance presents a bold and innovative approach to the study of theatre and performance. Instead of topics, genres, histories or theories, the book starts with the questions that theatre and performance are uniquely capable of asking: How does theatre function as a place for seeing and hearing? How do not only bodies and voices but also objects and media perform? How do memories, emotions and ideas continue to do their work when the performance is over? And how can theatre and performance intervene in social, political and environmental structures and frameworks? Written by leading international scholars, each chapter of this volume is built around a key performance example, and detailed discussions introduce the methodologies and theories that help us understand how these performances are practices of enquiry into the world. Thinking through Theatre and Performance is essential for those involved in making, enjoying, critiquing and studying theatre, and will appeal to anyone who is interested in the questions that theatre and performance ask of themselves and of us.

The Laban Workbook is a compendium of unique exercises inspired by the concepts and principles of movement theorist and artist, Rudolf Laban. Written by five internationally recognized movement experts, this textbook is divided into single-authored chapters, each of which includes a short contextual essay followed by a series of insight-bearing exercises. These expert views, honed in the creation of individual approaches to training and coaching actors, provide a versatile range of theory and practice in the creative process of crafting theatre. Readers will learn: Enhanced expressivity of body and voice; Clearer storytelling, both physical and vocal, facilitating the embodiment of playwrights' intentions; Imaginative possibilities for exploring an existing play or for creating devised theatre. Featuring many exercises exploring the application of Laban Movement Studies to text, character, scene work, and devised performances - as well as revealing the creative potential of the body itself - The Laban Workbook is ideal for actors, teachers, directors and choreographers.

Ireland 1986. A teenage girl begins a series of conversations with a statue of the Virgin Mary in a grotto. Inspired by a true story, Mary and Me is a compellingly original imagining of a young woman's search for understanding and meaning at a milestone in her life, and a rich and funny evocation of the Ireland of the 1980's.

This practical handbook is invaluable for anyone performing, teaching, studying or simply wanting a new way to enjoy Shakespeare. It provides an outline of Meisner's work and legacy, a discussion of that legacy in the light of the enduring global popularity of Shakespeare, and a wealth of practical exercises drawn from Meisner's techniques. Shakespeare writes about the truth in human relationships and human hearts. Sanford Meisner's work unlocks truthful acting. They would seem a perfect match. Yet, following Meisner's note to his actors that 'text is your greatest enemy', Shakespeare and Meisner are often considered 'strange bedfellows'. The rhetorical complexity of Shakespeare's text can often be perceived as rules an actor must learn in order to perform Shakespeare 'properly'. Meisner's main rule is that 'you can't say ouch until you've been pinched': in other words, an actor must genuinely feel something in order to react in a performance which is alive to the moment. This book explores how actors can use Meisner's tools of 'acting is reacting' to discover the infinite freedom within the apparent constraints of Shakespeare's text.

A groundbreaking, cross-cultural reference work exploring the diversity of expression found in rituals, festivals, and performances, uncovering acting techniques and practices from around the world. Acting: An International Encyclopedia explores the amazing diversity of dramatic expression found in rituals, festivals, and live and filmed performances. Its hundreds of alphabetically arranged, fully referenced entries offer insights into famous players, writers, and directors, as well as notable stage and film productions from around the world and throughout the history of theater, cinema, and television. The book also includes a surprising array of additional topics, including important venues (from Greek amphitheaters to Broadway and Hollywood), acting schools (the Actor's Studio) and companies (the Royal Shakespeare), performance genres (from religious pageants to puppetry), technical terms of the actor's art, and much more. It is a unique resource for exploring the techniques performers use to captivate their audiences, and how those techniques have evolved to meet the demands of performing through Greek masks and layers of Kabuki makeup, in vast halls or tiny theaters, or for the unforgiving eye of the camera. A-Z entries span every region of the world and cover diverse topics from Ireland's Abbey Theatre to China's Zhang Mu (rod-puppet theater) Beautiful illustrations include masks used in classical Greek dramas, an advertisement for a performance of Punch and Judy, the humorous puppet characters, and photographs of actors, performances, and ceremonies from Monty Python to young Balinese dancers performing the Legong dance

"Brecht on Performance: Messingkauf and Modelbooks" presents a selection of Brecht's principal writings for directors and theatre practitioners, and is suitable for acting schools, directors, actors, students and teachers of Theatre Studies. Through these texts Brecht provides a general practical approach to acting and to realising texts for the stage that crystallises and makes concrete many of the more theoretical aspects of his other writing.The volume is in two parts. The first features an entirely new commentated edition of Brecht's dialogues and essays about the practice of theatre, known as the "Messingkauf," or "Buying Brass," including the 'Practice Pieces' for actors (rehearsal scenes for classics by Shakespeare and Schiller). The second contains rehearsal and production records from Brecht's work on productions of" Life of Galileo," "Antigone," "Mother Courage" and others.Edited by an international team of Brecht scholars and including an essay by director and teacher Di Trevis examining the practical application of these texts for theatres and actors today, "Brecht on Performance" is a wonderfully rich resource. The text is illustrated with over 30 photographs from the "Modelbooks."

What is it like to pursue a career in acting? Forty working actors comment on auditions, day jobs, agents, rejection, and what drives them to keep going when there is no work. These personal essays have been drawn from interviews with actors at different stages in their careers. Some have just begun; others have frequented Broadway, film, and television. They share stories of every aspect of being a professional actor, from heart-wrenching rejection, to the exhilaration of getting that first big part. Their often humorous stories, from the practical to the inspirational, will be invaluable for anyone studying acting or already embarking on a career.

Combining life-coaching and screen-acting tools and techniques in one accessible handbook, this guide empowers actors to overcome personal inhibitions and approach their work, characters and careers with the assuredness to produce powerful, real and believable acting on screen. Structured to build confidence and understanding of yourself before you take on the role of someone else, this book offers the tools and techniques to give you the necessary conviction and self-assurance to perform uninhibited. Dresner then examines essential elements of a screen actor's craft, such as emotions, imagination, nerves, focus, listening, improvisation and line-learning. Published in partnership with The Actor's Centre, the book includes online videos of coaching sessions with professional actors and is ideal for readers and teachers looking to replicate the method in their own training.

What is the relationship between 'body' and 'mind', 'inner' and 'outer' in any approach to acting? How have different modes of actor training shaped actors' experiences of acting and how they understand their work? Phillip B. Zarrilli, Jerri Daboo and Rebecca Loukes offer insight into such questions, analysing acting as a psychophysical phenomenon and process across cultures and disciplines, and providing in-depth accounts of culturally and historically specific approaches to acting. Individual chapters explore:
- psychophysical acting and the legacy of Stanislavsky
- European psychophysical practices of dance and theatre
- traditional and contemporary psychophysical approaches to performance in India and Japan
- insights from the new sciences on the 'situated bodymind' of the actor
- intercultural perspectives on acting
This lively study is ideal for students and practitioners alike.

"Theatrical Improvisation" provides an in-depth analysis of short form, long form, and sketch-based improv--tracing the development of each form and the principles that define and connect the styles of performance. Brimming with original interviews from leaders in the field such as Ron West, Charna Halpern, John Sweeny and Margaret Edwartowski, "Theatrical Improvisation" presents straightforward improvisational theory, history, and trends. Includes easy-to-follow resources on teaching improvisation, with assessment tools, exercises, games, and classroom assignments to enable instructors to incorporate and assess improv in the classroom. Leep offers a practical, essential, and engaging guide for anyone who wants to better understand the art, teach, or perform improvisation.

Cracking Shakespeare serves to demystify the process of speaking Shakespeare's language, offering hands-on techniques for drama students, young actors and directors who are intimidated by rehearsing, performing and directing Shakespeare's plays. For some artists approaching Shakespeare, the ability to capture the dynamic movement of thought from mind to mouth, and the paradox of using the formality of verse to express a realistic form of speech, can seem daunting. Cracking Shakespeare includes practical techniques and exercises to solve this dilemma - including supporting online video which demonstrate how to embody Shakespeare's characters in rehearsal and performance - offering a toolkit that will free actors and directors from their fear of Shakespeare. The result of thirty years of acting, teaching and directing Shakespeare, Kelly Hunter's Cracking Shakespeare is the ideal textbook for actors and directors looking for new ways to approach Shakespeare's plays in a hands-on, down-to-earth style.

An invaluable reference for anyone who is a working actor, or wants to be. Learn how to make it in the day-to-day business of acting and stay sane and focused while attempting to merge art and commerce. This book covers everything the author wishes someone had told him about how casting decisions are made, what rejection really means, how to behave on a set, the two factors the business is built on, and much more.

(Limelight). From Booklist: Actor-director-producer Leonard has a real gift for storytelling that he displays to the fullest in a breezy, readable memoir of his life in show business. Starting out as an actor in 1930s New York in such forgotten hit plays as Hotel Alimony, Fly Away Home, and Kiss the Boys Goodbye, Leonard had the foresight and financial need to leap first to radio and movies, then to television, in which he created or produced such rerun perennials as Make Room for Daddy, The Andy Griffith Show, and the controversial (for its time) I Spy . Along the way, Leonard met lots and lots of fascinating people--John Garfield, Jack Benny, Danny Thomas, Carl Reiner, and Bill Cosby, to mention a few of the dozens about whom Leonard has a funny story or three to tell. Some of these stories are well known, such as those of the closeness of the writers, actors, and staff of The Dick Van Dyke Show; others are not, such as those of Leonard's various, sometimes dangerous, adventures around the world while filming I Spy . Jack Helbig