A History of Contemporary Stage Combat chronicles the development of stage combat from the origins of the Society of British Fight Directors in 1969 to the modern day. Featuring interviews with some of the pioneers of this art form, the book analyzes how stage combat developed in response to the needs of the industry and the changing social mores in the United States, United Kingdom, Canada, the European Continent, Australia, and New Zealand. It also explores the quality of theatrical weaponry, as well as outcropping of stage combat such as intimacy design and theatrical jousting. A History of Contemporary Stage Combat is an excellent resource for actors, directors, stage combatants, theatre historians, and anyone with a love of action on stage and film.

Somatic Voices in Performance Research and Beyond brings together a community of international practitioner-researchers who explore voice through soma or soma through voice. Somatic methodologies offer research processes within a new area of vocal, somatic and performance praxis. Voice work and theoretical ideas emerge from dance, acting and performance training while they also move beyond commonly recognized somatics and performance processes. From philosophies and pedagogies to ethnic-racial and queer studies, this collection advances embodied aspects of voices, the multidisciplinary potentialities of somatic studies, vocal diversity and inclusion, somatic modes of sounding, listening and writing voice. Methodologies that can be found in this collection draw on: eastern traditions body psychotherapy-somatic psychology Alexander Technique, Feldenkrais Method Authentic Movement, Body-Mind Centering, Continuum Movement, Integrative Bodywork and Movement Therapy Fitzmaurice Voicework, Linklater Technique, Roy Hart Method post-Stanislavski and post-Grotowski actor-training traditions somaesthetics The volume also includes contributions by the founders of: Shin Somatics, Body and Earth, Voice Movement Integration SOMart, Somatic Acting Process This book is a polyphonic and multimodal compilation of experiential invitations to each reader's own somatic voice. It culminates with the "voices" of contributing participants to a praxical symposium at East 15 Acting School in London (July 19-20, 2019). It fills a significant gap for scholars in the fields of voice studies, theatre studies, somatic studies, artistic research and pedagogy. It is also a vital read for graduate students, doctoral and postdoctoral researchers.

In ACTING: Make It Your Business, Second Edition, award-winning casting director Paul Russell puts the power to land jobs and thrive in any medium-stage, film, television, or the Internet-directly into the hands of the actor. This blunt and practical guide offers a wealth of advice on auditioning, marketing, and networking, combining traditional techniques with those best suited for the digital age. Well-known actors and powerful agents and managers make cameos throughout, offering newcomers and working professionals alike a clear-eyed, uncensored perspective on survival and advancement within the entertainment industry. This second edition has been updated and expanded to include the following: More stars of screen and stage sharing acting career strategies Digital audition techniques for screen and stage, including how best to self-tape New tools to master modern marketing, both digital and traditional with innovation Expanded actor resource listings Additional bicoastal talent agents and managers spilling secrets for obtaining representation, and tips for successful actor-to-representation partnerships New insights on audition techniques An excellent resource for career actors, beginning and amateur actors, as well as students in Acting I and II, Auditions, and Business of Acting courses, ACTING: Make It Your Business provides readers with invaluable tools to build a successful, long-lasting acting career.

In ACTING: Make It Your Business, Second Edition, award-winning casting director Paul Russell puts the power to land jobs and thrive in any medium-stage, film, television, or the Internet-directly into the hands of the actor. This blunt and practical guide offers a wealth of advice on auditioning, marketing, and networking, combining traditional techniques with those best suited for the digital age. Well-known actors and powerful agents and managers make cameos throughout, offering newcomers and working professionals alike a clear-eyed, uncensored perspective on survival and advancement within the entertainment industry. This second edition has been updated and expanded to include the following: More stars of screen and stage sharing acting career strategies Digital audition techniques for screen and stage, including how best to self-tape New tools to master modern marketing, both digital and traditional with innovation Expanded actor resource listings Additional bicoastal talent agents and managers spilling secrets for obtaining representation, and tips for successful actor-to-representation partnerships New insights on audition techniques An excellent resource for career actors, beginning and amateur actors, as well as students in Acting I and II, Auditions, and Business of Acting courses, ACTING: Make It Your Business provides readers with invaluable tools to build a successful, long-lasting acting career.

The Routledge Companion to Performance Practitioners collects the outstanding biographical and production overviews of key theatre practitioners first featured in the popular Routledge Performance Practitioners series of guidebooks. Each of the chapters is written by an expert on a particular figure, from Stanislavsky and Brecht to Laban and Decroux, and places their work in its social and historical context. Summaries and analyses of their key productions indicate how each practitioner's theoretical approaches to performance and the performer were manifested in practice. All 22 practitioners from the original series are represented, with this volume covering those born before the end of the First World War. This is the definitive first step for students, scholars and practitioners hoping to acquaint themselves with the leading names in performance, or deepen their knowledge of these seminal figures.

Alexander Knox (1907-1995) was a distinguished stage and screen actor, who is best remembered today for his title performance in the 1944 production of Wilson. He was active both in London's West End and on Broadway, and began his Hollywood career in 1941 with The Sea Wolf. Because of his liberal activities in the film community, including co-founding of the Committee for the First Amendment, Knox was "grey-listed," and forced to settle permanently in the United Kingdom, where he became a familiar figure both in films and on television. On Actors and Acting collects together Knox's writings, published and unpublished, on various performers with whom he worked or was familiar, and on the art and craft of acting. Knox writes on Laurence Olivier, a close personal friend with whom he appeared in the memorable 1940 production of Romeo and Juliet. He discusses his performance as Wilson. Other actors and actresses about whom Knox has many original things to say include Sara Allgood, Dana Andrews, George Arliss, and Walter Huston. Anthony Slide, a film historian and a personal friend of Alexander Knox and his wife, actress Doris Nolan, edited On Actors and Acting. Slide contributes a lengthy career overview and has also compiled a complete filmography, documenting Knox's screen career from his first film, The Gaunt Stranger in 1938, through his last, Joshua Then and Now in 1985.

Michael Chekhov and Sanford Meisner: Collisions and Convergence in Actor Training offers a comprehensive analysis of the Sanford Meisner Acting Technique in comparison to the Michael Chekhov Acting Technique. This compilation reveals the connections as well as the contradictions between these two very different approaches, while highlighting meaningful bridges and offering in-depth essays from a variety of sources, including master teachers with years of experience and new and rising stars in the field. The authors provide philosophical arguments on actor training, innovative approaches to methodology, and explorations into integration, as well as practical methods of application for the classroom or rehearsal room, or scaffolded into a curriculum. Michael Chekhov and Sanford Meisner: Collisions and Convergence in Actor Training is an excellent resource for professors teaching Introductory, Intermediate or Advanced Acting Technique as well as acting program directors and department chairs seeking new, impactful research on actor training.

Michael Chekhov and Sanford Meisner: Collisions and Convergence in Actor Training offers a comprehensive analysis of the Sanford Meisner Acting Technique in comparison to the Michael Chekhov Acting Technique. This compilation reveals the connections as well as the contradictions between these two very different approaches, while highlighting meaningful bridges and offering in-depth essays from a variety of sources, including master teachers with years of experience and new and rising stars in the field. The authors provide philosophical arguments on actor training, innovative approaches to methodology, and explorations into integration, as well as practical methods of application for the classroom or rehearsal room, or scaffolded into a curriculum. Michael Chekhov and Sanford Meisner: Collisions and Convergence in Actor Training is an excellent resource for professors teaching Introductory, Intermediate or Advanced Acting Technique as well as acting program directors and department chairs seeking new, impactful research on actor training.

Based on interviews with over forty award-winning artists, How to Rehearse a Play offers multiple solutions to the challenges that directors face from first rehearsal to opening night. The book provides a wealth of information on how to run a rehearsal room, suggesting different paths and encouraging directors to shape their own process. It is divided into four sections: lessons from the past: a brief survey of influential directors, including Stanislavski's acting methods and Anne Bogart's theories on movement; a survey of current practices: practical advice on launching a process, analyzing scripts, crafting staging, detailing scene work, collaborating in technical rehearsals and previews, and opening the play to the public; rehearsing without a script: suggestions, advice, and exercises for devising plays through collaborative company creation; rehearsal workbook: prompts and exercises to help directors discover their own process. How to Rehearse a Play is the perfect guide for any artist leading their first rehearsal, heading to graduate school for intense study, or just looking for ways to refresh and reinvigorate their artistry.

Stage Fright in the Actor explores the phenomena of stage fright-a universal experience that ranges in intensity from a relatively easy-to-conceal sense of anxiety to an overwhelming feeling of terror-from the actor's perspective, unearthing its social, cultural, and personal roots. Drawing on her experience as both an actor trainer and a licensed psychotherapist, Linda Brennan recounts the testimonies of professional actors to paint a clear picture of the artistic, behavioral, cognitive, physiological, and psychological characteristics of stage fright. This book encourages the reader to reflect on their own experiences while guided by the stories of fellow actors. Their personal accounts, combined with clinical research and practical exercises, will help readers to identify, manage, and even conquer this "demon in the wings." Stage Fright in the Actor is an essential tool for actors and acting students. Its insight into the many manifestations of stage fright also renders it as valuable reading for acting/performing arts teachers and directors, as well as anyone who fears stepping "onstage."

There are over 150 BFA and MFA acting programs in the US today, nearly all of which claim to prepare students for theatre careers. Peter Zazzali contends that the curricula of these courses represent an ethos that is as outdated as it is limited, given today's shrinking job market for stage actors. Acting in the Academy traces the history of actor training in universities to make the case for a move beyond standard courses in voice and speech, movement, or performance, to develop an entrepreneurial model that motivates and encourages students to create their own employment opportunities. This book answers questions such as: How has the League of Professional Theatre Training Programs shaped actor training in the US? How have training programmes and the acting profession developed in relation to one another? What impact have these developments had on American acting as an art form? Acting in the Academy calls for a reconceptualization of actor training the US, and looks to newly empower students of performance with a fresh, original perspective on their professional development.

A World Elsewhere is Steven Berkoff's bold attempt to describe his multifarious theatrical works. Berkoff outlines the methods that he uses, first of all as an actor, secondly as a playwright and thirdly as theatre director, as well as those subtle connections in between, when one discipline melds effortlessly into another. He examines the early impulses that generated his works and what drove him to give them form, as well as the challenges he faced when adapting the work of other authors. Berkoff discusses some of his most difficult, successful and unique creations, journeying through his long and varied career to examine how they were shaped by him, and how he was shaped by them. The sheer scale of this book offers a rare experience of an accomplished artist, combined with the honesty and insight of an autobiography, making this text a singular tool for teaching, inspiration and personal exploration. Suitable for anyone with an interest in Steven Berkoff and his illustrious career, A World Elsewhere is the part analysis and part confession of an artist whose work has been performed all over the world.

Acting for the Screen is a collection of essays written by and interviews with working actors, producers, directors, casting directors, and acting professors, exploring the business side of screen acting. In this book, over thirty show business professionals dispel myths about the industry and provide practical advice on topics such as how to break into the field, how to develop, nurture, and navigate business relationships, and how to do creative work under pressure. Readers will also learn about the entrepreneurial expectations in relation to the internet and social media, strategies for contending with the emotional highs and lows of acting, and money management while pursuing acting as a profession. Written for undergraduates and graduates studying Acting for Screen, aspiring professional actors, and working actors looking to reinvent themselves, Acting for the Screen provides readers with a wealth of first-hand information that will help them create their own opportunities and pursue a career in show business.

The classic voice-training book for actors, teachers of voice and speech and anyone interested in vocal expression - by a pre-eminent voice teacher, actor and director. Fully revised and expanded edition. Linklater's approach is to liberate the voice you have rather than apply vocal techniques from the outside. Her basic assumption is that everyone possesses a voice capable of expressing whatever emotion, mood or thought he/she experiences. This edition incorporates vocal exercises developed over three decades to help the voice connect viscerally with language - a key element in the actors' craft. 'a radical breakaway from the old formal methods... an invaluable new resource... essential' Educational Theatre Journal 'the best and only work of its kind for vocal training' Educational Theatre News

Archaeologies of Presence is a brilliant exploration of how the performance of presence can be understood through the relationships between performance theory and archaeological thinking. Drawing together carefully commissioned contributions by leading international scholars and artists, this radical new work poses a number of essential questions: What are the principle signifiers of theatrical presence? How is presence achieved through theatrical performance? What makes a memory come alive and live again? How is presence connected with identity? Is presence synonymous with 'being in the moment'? What is the nature of the 'co-presence' of audience and performer? Where does performance practice end and its documentation begin? Co-edited by performance specialists Gabriella Giannachi and Nick Kaye, and archaeologist Michael Shanks, Archaeologies of Presence represents an innovative and rewarding feat of interdisciplinary scholarship.

Congratulations! You got the part! Now what? Many actors of all levels find it challenging to apply classroom and studio techniques to the rehearsal process. Rehearsing for a class is vastly different than a professional situation, and a consistent, practical, and constructive method is needed to truly bring to life vibrant and intricate characters. Building a Performance: An Actor's Guide to Rehearsal provides tools and techniques through different stages of the rehearsal process to enable actors to make more dynamic choices, craft complex characters, and find an engaging and powerful level of performance. John Basil and Dennis Schebetta bring decades of acting and teaching experience to help actors apply the skills they learned in the classroom directly to the professional rehearsal room or film/television set. They show how to glean distinct choices from early readings of the script, how to add dynamics to their physical and vocal decisions, how to explore interactions with other actors in rehearsal, and how to address specific challenges unique to each role. While students will benefit from the practical applications and advice, intermediate and advanced actors will find exciting and new ways to engage with the material and with other actors at rehearsal. Actors of all levels will gain tips and techniques so that they can continue to discover more about their character. With these tools, actors will be inspired to dig into the text and build a dynamic performance.

Time and Performer Training addresses the importance and centrality of time and temporality to the practices, processes and conceptual thinking of performer training. Notions of time are embedded in almost every aspect of performer training, and so contributors to this book look at: age/aging and children in the training context how training impacts over a lifetime the duration of training and the impact of training regimes over time concepts of timing and the 'right' time how time is viewed from a range of international training perspectives collectives, ensembles and fashions in training, their decay or endurance. Through focusing on time and the temporal in performer training, this book offers innovative ways of integrating research into studio practices. It also steps out beyond the more traditional places of training to open up time in relation to contested training practices that take place online, in festival spaces and in folk or amateur practices. Ideal for both instructors and students, each section of this well-illustrated book follows a thematic structure and includes full-length chapters alongside shorter provocations. Featuring contributions from an international range of authors who draw on their backgrounds as artists, scholars and teachers, Time and Performer Training is a major step in our understanding of how time affects the preparation for performance.

Incapacity and Theatricality acknowledges the distinctive contribution to contemporary theatrical performance made by actors with intellectual disabilities. It presents a close examination of certain key theatrical performances across a variety of different media, including John Cassavetes' 1963 social issues film A Child Is Waiting; the performance art collaboration between Robert Wilson and Christopher Knowles; and the provocative pranksterism of Christoph Schlingensief's talent show mockumentary FreakStars 3000. Tracing a global path of performances, Incapacity and Theatricality offers an analysis of how actors with intellectual disabilities have emerged onto the main stage, and how their inclusion calls into question long-held assumptions about both theatre and intellectual disability. For postgraduate students, or anyone interested in the shifting dynamics of twenty-first century theatre, McCaffrey's work offers a vital consideration of the intersubjective relations between people with and without intellectual disabilities and ultimately addresses urgent questions about the situation and representation of the contemporary subject caught up somewhere between incapacity and theatricality.

Transformative acting remains the aspiration of many an emerging actor, and constitutes the achievement of some of the most acclaimed performances of our age: Daniel Day-Lewis as Lincoln, Meryl Streep as Mrs Thatcher, Anthony Hopkins as Hannibal Lecter - the list is extensive, and we all have our favourites. But what are the physical and psychological processes which enable actors to create characters so different from themselves? To understand this unique phenomenon, Vladimir Mirodan provides both a historical overview of the evolution of notions of 'character' in Western theatre and a stunning contemporary analysis of the theoretical implications of transformative acting. The Actor and the Character: Surveys the main debates surrounding the concept of dramatic character and - contrary to recent trends - explains why transformative actors conceive their characters as 'independent' of their own personalities. Describes some important techniques used by actors to construct their characters by physical means: work on objects, neutral and character masks, Laban movement analysis, Viewpoints, etc. Examines the psychology behind transformative acting from the perspectives of both psychoanalysis and scientific psychology and, based on recent developments in psychology, asks whether transformation is not just acting folklore but may actually entail temporary changes to the brain structures of the actors. The Actor and the Character speaks not only to academics and students studying actor training and acting theory, but contributes to current lively academic debates around character. This is a compelling and original exploration of the limits of acting theory and practice, psychology, and creative work, in which Mirodan boldly re-examines some of the fundamental assumptions of actor training and some basic tenets of theatre practice to ask: What happens when one of us 'becomes somebody else'?

In the tradition of the medieval cycle plays performed for education, enrichment, and entertainment, A New Corpus Christi: Plays for Churches presents 25 short plays and skits with one or two scripts for each of 21 events in the church year. The scripts range from celebratory pieces to problem plays to liturgical dramas to plays that call for no worship setting accouterments. The scripts will also provide discussion starters for Sunday school classes or small groups. And some of the plays might be grouped together as programs on particular topics such as poverty and homelessness or death and dying. This book also provides a resource for university and seminary courses in liturgics and worship.

The Routledge Companion to Jacques Lecoq presents a thorough overview and analysis of Jacques Lecoq's life, work and philosophy of theatre. Through an exemplary collection of specially commissioned chapters from leading writers, specialists and practitioners, it draws together writings and reflections on his pedagogy, his practice, and his influence on the wider theatrical environment. It is a comprehensive guide to the work and legacy of one of the major figures of Western theatre in the second half of the twentieth century. In a four-part structure over fifty chapters, the book examines: The historical, artistic and social context out of which Lecoq's work and pedagogy arose, and its relation to such figures as Jacques Copeau, Antonin Artaud, Jean-Louis Barrault, and Dario Fo. Core themes of Lecoq's International School of Theatre, such as movement, play, improvisation, masks, language, comedy, and tragedy, investigated by former teachers and graduates of the School. The significance and value of his pedagogical approaches in the context of contemporary theatre practices. The diaspora of performance practice from the School, from the perspective of many of the most prominent artists themselves. This is an important and authoritative guide for anyone interested in Lecoq's work.

Acting & Auditioning for the 21st Century covers acting and auditioning in relation to new media, blue and green screen technology, motion capture, web series, audiobook work, evolving livestreamed web series, and international acting and audio work. Readers are given a methodology for changing artistic technology and the global acting market, with chapters covering auditions of all kinds, contracts, the impact of new technology and issues relating to disabled actors, actors of colour and actors that are part of the LGBTQIA community.