Partners of the Imagination is the first in-depth study of the work of John Arden and Margaretta D'Arcy, partners in writing and cultural and political campaigns. Beginning in the 1950s, Arden and D'Arcy created a series of hugely admired plays performed at Britain's major theatres. Political activists, they worked tirelessly in the peace movement and the Northern Ireland 'Troubles', during which D'Arcy was gaoled. She is also a veteran of the Greenham Common Women's Peace camp. Their later work included Booker-listed novels, prize-winning stories, essays and radio plays, and D'Arcy founded and ran a Woman's Pirate Radio station. Raymond Williams described Arden as 'the most genuinely innovative' of the playwrights of his generation, and Chambers and Prior claimed that 'The Non-Stop Connolly Show', D'Arcy and Arden's six-play epic, 'has fair claim to being one of the finest pieces of post-war drama in the English language'. This study explores the connections between art and life, and between the responsibilities of the writer and the citizen. Importantly, it also evaluates the range of literary works (plays, poetry, novels, essays, polemics) created by these writers, both as literature and drama, and as controversialist activity in its own right. This work is a landmark examination of two hugely respected radical writers.

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.

Why the Theatre is a collection of 26 personal essays by college teachers, actors, directors, and playwrights about the magnetic pull of the theatre and its changing place in society. The book is divided into four parts, examining the creative role of the audience, the life of the actor, director, and playwright in performance, ways the theatre moves beyond the playhouse and into the real world, and theories and thoughts on what the theatre can do when given form onstage. Based on concrete, highly personal examples, experiences, and memories, this collection offers unique perspectives on the meaning of the theatre and the beauty of weaving the world of the play into the fabric of our lives. Covering a range of practices and plays, from the Greeks to Japanese Butoh theatre, from Shakespeare to modern experiments, this book is written by and for the theatre instructor and theatre appreciation student.

Why the Theatre is a collection of 26 personal essays by college teachers, actors, directors, and playwrights about the magnetic pull of the theatre and its changing place in society. The book is divided into four parts, examining the creative role of the audience, the life of the actor, director, and playwright in performance, ways the theatre moves beyond the playhouse and into the real world, and theories and thoughts on what the theatre can do when given form onstage. Based on concrete, highly personal examples, experiences, and memories, this collection offers unique perspectives on the meaning of the theatre and the beauty of weaving the world of the play into the fabric of our lives. Covering a range of practices and plays, from the Greeks to Japanese Butoh theatre, from Shakespeare to modern experiments, this book is written by and for the theatre instructor and theatre appreciation student.

Commedia dell'Arte, its Structure and Tradition chronicles a series of discussions between two renowned experts in commedia dell'arte - master practitioners Antonio Fava and John Rudlin. These discussions were recorded during three recent visits by Fava to Rudlin's rural retreat in south west France. They take in all of commedia dell'arte's most striking and enduring elements - its masks, its scripts and scenarios, and most outstandingly, its cast of characters. Fava explores the role of each stock Commedia character and their subsequent incarnations in popular culture, as well as their roots in prominent figures of their time. The lively and wide-ranging conversations also take in methods of staging commedia dell'arte for contemporary audiences, the evolution of its gestures, and the collective nature of its theatre-making. This is an essential book for any student or practitioner of commedia dell'arte - provocative, expansive wisdom from the modern world's foremost exponent of the craft.

A sophisticated analysis of how the intersection of technique, memory, and imagination inform performance, Crossing Cultural Borders Through the Actor's Work redirects the intercultural debate by focusing exclusively on the actor at work. Alongside the perspectives of other prominent intercultural actors, this study draws from original interviews with Ang Gey Pin (formerly with the Workcenter of Jerzy Grotowski and Thomas Richards) and Roberta Carreri (Odin Teatret). By illuminating the hidden creative processes usually unavailable to outsiders--the actor's apprenticeship, training, character development, and rehearsals--Nascimento both reveals how assumptions based on race or ethnicity are misguiding, trouble definitions of intra- and intercultural practices, and details how performance analyses and claims of appropriation fail to consider the permanent transformation of the actor's identity that cultural transmission and embodiment represent.

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 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.

SWORD FIGHTING; A MANUAL FOR ACTORS AND DIRECTORS is a comprehensive new work on the art of creating realistic and exciting fight sequences for theatre, film and TV. This book is the product of thirty years research and experimentation into traditional European martial arts by acclaimed fight director John Waller and his associates, and possibly the most wide-ranging and practical book on stage combat ever published.

* This is the first book on acting Shakespeare that incorporates modern clown techniques and historically informed performance principles in a way that synthesizes well with contemporary acting technique. * This book is pragmatic and clear for the 21st-century actor and director. All of the information is explained in a manner that can be easily translated into acting choices through a conventional rehearsal process. * The case study section presents several interpretive examples that show how the principles and techniques presented in this book can be used selectively and in concert to create a role.

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.

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.

This book was awarded a Special Mention Citation in the 2010 competition for the 'de la Torre Bueno Prize' by The Society of Dance History Scholars. In the region of Salento in Southern Italy, the music and dance of the pizzica has been used in the ritual of tarantism for many centuries as a means to cure someone bitten by the taranta spider. This book, a historical and ethnographic study of tarantism and pizzica, draws upon seven hundred years of writings about the ritual contributed by medical practitioners, scientists, travel writers and others. It also investigates the contemporary revival of interest in pizzica music and dance as part of the 'neo-tarantism' movement, where pizzica and the history of tarantism form a complex web of place, culture and identity for Salentines today. This is one of the first books in English to explore this fascinating ritual practice and its contemporary resurgence. It uses an interdisciplinary framework based in performance studies to ask wider questions about the experience of the body in performance, and the potential of music and dance to create a sense of personal and collective transformation and efficacy.

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.

Immaterial Culture engages with texts that are now largely unread and dismissed as trivial or dubious: the vast body of plays - thrillers, narrative poetry, comedy sketches, documentaries and adaptations of literature and drama - that aired on American network radio during the medium's so-called golden age. For a quarter century, from the stock market crash of 1929 to the introduction of the TV dinner in 1954, radio plays enjoyed an exposure unrivalled by stage, film, television and print media. As well as entertaining audiences numbering in the tens of millions for a single broadcast, these scripted performances - many of which were penned by noted novelists, poets and dramatists - played important and often conflicting roles in advertising, government propaganda and education. Reading these fugitive and often self-conscious texts in the context in which they were created and presented, the author considers what their neglect might tell us about ourselves, our visual bias and our attitudes toward commercial art and propaganda. The study's ample scope, its interdisciplinary approach and its insistence on the primacy of the texts under discussion serve to regenerate the discourse about cultural products that challenge the way we classify art and marginalise the unclassifiable.

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."

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.

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.

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.

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.

Actioning - and How to Do It is the indispensable companion to a vital component in every actor's toolkit. Actioning is one of the most widely used rehearsal techniques for actors. It helps bring clarity to every moment or thought in the text, energising rehearsals and bringing performances to life. Actioning will enable you to discover and unlock newfound energy, range, variety and clarity of body and voice, by: Interrogating the text and making initial action verb choices Playing your chosen actions, both verbally and physically Maintaining an imaginative and emotional connection with each moment Signposting each thought to your scene partner From the publishers of the internationally successful Actions: The Actors' Thesaurus, this is the first in-depth exploration of Actioning for student actors, those who train them, and professionals working in the industry, whether they're brand new to the technique or have been practising it for years. This step-by-step guide draws on concepts from Stanislavsky, using sample scenes from classic plays such as The Seagull and The Importance of Being Earnest, as well as contemporary pieces, and is filled with exercises to demonstrate the technique at work.

The Boogeyman is afraid of the dark! The Tooth Fairy hates her job! The Wicked Witch isn't really so wicked! One hundred fantasy monologs reveal what characters like Cinderella and Captain Hook might really say if given the chance. It's fun, it's cool and it's offbeat to portray the "other side of the story" of these famous fantasy characters. Each monolog is delightfully preposterous and hilariously different. Fifty boys and fifty girls can choose the fantasy character of their choice. How does scissor-happy Rapunzel really feel about her long, long hair? Who is this not-so-jolly Santa Clause? And is Little Red Riding Hood a secret agent? A wide selection of monologs for classroom use, contests or as part of a variety show. Sample monologs: Shopping-Compulsive Cinderella, Desperate Housewife: Mrs. Clause, The Forgetful Fairy Godmother, Waterlogged Little mermald, Arachrophobic Spiderman, Humpty Dumpty: Assassinated, The Not-So Prince Charming, Hunchback of a Picky Dame.

Cruel Britannia: Sarah Kane's Postmodern Traumatics examines four plays by British playwright Sarah Kane (1971-1999), all written between 1995 and 1999 within the context of the "Cool Britannia", or "In-Yer-Face" London theatre movement of the 1990s. Kane's plays were notorious for their shocking productions and challenging and offensive subject matter. This book analyzes her plays as products of a long history of theatrical convention and experimentation, rather than trend. I read Kane's plays through an optic of trauma theory, and link the trauma to postmodern experience as defined by war, inter-personal violence, repetitive memory, and sex as medium of violence. Kane's plays' unrelenting violence and graphic depictions of violent sex suggest a relationship with theories and practices such as Artaud's theatre of cruelty, and Kroker and Cook's theory of the postmodern as sign of excremental culture and an inherently abject state of being. Through a play by play analysis I conclude that Kane's work suggests that violence and trauma are endemic to postmodern life, and are ultimately apocalyptic due to their culmination in Kane's final play, the suicide text of 4.48 Psychosis.