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.

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.

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.

A classic bestseller by one of the most important theatre practitioners of the 20th and early 21st centuries. This handbook has sold over 90,000 copies to students, teachers and theatre makers, giving them a broad range of theatre exercises to use in classrooms, rehearsals and community projects. Makes social and community theatre fun, engaging and easily accessible for a broad audience. No other book sets out all of Boal's methods in one place, not least in such a clear, practical manner.

This comprehensive manual shows the who, what, when, why and how of comedy improvisation. It is a complete improv curriculum program divided into twenty-four class-length units. The book is divided into four parts including: Introduction explains what improv is and how to create an improv team. Improv Skills shows some basic rules, physicalization, characterization, teamwork, use of suggestion. Structuring describes who, what and how to make improv structures. Strategies gives hints and tips for evaluating performance and putting on a show. Unlike other improv books, this book provides the tools to start an improv team or club at your school. Includes a lesson plan and a unique section that shows how to structure and create your own new improv games. Also includes appendices with many games and exercises. Sample chapters: What is improv?, Creating an improv Team, Improv Foundations, Rules of the Stage, Physicalization, Characterization, Teamwork, Use of Suggestion, Games, and many more.

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.

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.

Gail Marshall looks at actresses on the English stage of the later nineteenth century, and argues that much of their work was determined by the popularity at the time of images of Classical sculpture. They were often encouraged to look as much as possible like statues, and thus to appear to their audiences as sexually desirable objects rather than creative artists. The book draws for its evidence on theatrical fictions, visual representations, and popular culture's assimilation of the sculptural image, as well as on theatrical productions.

This is the first book of its kind to explain and detail research for practice for actors. The book has a versatile approach that offers meaningful points of intersection in a variety of performance-based contexts, and avoids enshrining a set methodology or praxis which might be perceived as conflicting with other approaches. This is a supplementary text designed to support study and training across programs of performance study.

German Expressionist Theatre: The Actor and the Stage considers the powerfully stylized, anti-realistic styles of acting on the German Expressionist stage from 1916 to 1921. It relates this striking departure from the dominant European acting tradition of realism to the specific cultural crises that enveloped the German nation during the course of its involvement in World War I. This book describes three distinct Expressionist acting styles, all of which in their own ways attempted to show how symbolic stage performance could be a powerful rhetorical resource for a culture struggling to come to terms with the crises of historical change. The examination of Expressionist script and actor memoirs allows for an unprecedented focus on description and analysis of acting itself.

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.

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."

Building on the metahistorical exploration of drama that was the subject of Tongues of Flame, Dawn Langman explores the practical pathways through which the art of acting can evolve beyond the 'body and soul' paradigm still broadly accepted in contemporary culture. Through the integration of Rudolf Steiner's research in the arts of speech and eurythmy, and together with Michael Chekhov's acting techniques, Langman raises the spiritual dimension of the human being from that vague sensing which many actors intuit - but which has, however, little bearing on their practice - into a precise methodology. In this second volume in her series on 'The Actor of the Future', she offers performance artists a clear pathway ahead, enabling them to develop their work out of spiritual insight and consciousness. 'Dawn Langman's research into character creation invites the future into the present: suggesting the intriguing connection between the evolving universe, human consciousness and the mysteries at work in relationships and destiny.' - Penelope Snowdon-Lait, Co-director, Spirit of the Word training, New Zealand

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.

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.

The Elements of Theatrical Expression puts forward 14 essential elements that make up the basic building blocks of theatre. Is theatre a language? Does it have its own unique grammar? And if so, just what would the elements of such a grammar be? Brian Kulick asks readers to think of these elements as the rungs of a ladder, scaling one after the other to arrive at an aerial view of the theatrical landscape. From such a vantage point, one can begin to discern a line of development from the ancient Greeks, through Shakespeare and Chekhov, to a host of our own contemporary authors. He demonstrates how these elements may be transhistorical but are far from static, marking out a rich and dynamic theatrical language for a new generation of theatre makers to draw upon. Suitable for directors, actors, writers, dramaturges, and all audiences who yearn for a deeper understanding of theatre, The Elements of Theatrical Expression equips its readers with the knowledge that they need to see and hear theatre in new and more daring ways.

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.

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.

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.

THE GOOD AUDITION GUIDES: Helping you select and perform the audition piece that is best suited to your performing skills In this volume of the Good Audition Guides, you'll find fifty fantastic speeches for women, all written since the year 2000, by some of our most exciting dramatic voices. Playwrights featured in Contemporary Monologues for Women include Mike Bartlett, Alexi Kaye Campbell, Caryl Churchill, Helen Edmundson, debbie tucker green, Ella Hickson, Lucy Kirkwood, Rona Munro, Joanna Murray-Smith and Enda Walsh, and the plays themselves were premiered at the very best theatres across the UK including the National Theatre, the Royal Shakespeare Company, the Bush, Soho and Hampstead Theatres, Manchester Royal Exchange, the Traverse in Edinburgh, the Abbey in Dublin, and many on the stages of the Royal Court. Drawing on her experience as an actor, director and teacher at several leading drama schools, Trilby James prefaces each speech with a thorough introduction including the vital information you need to place the piece in context (the who, what, when, where and why) and suggestions about how to perform the scene to its maximum effect (including the character's objectives and keywords). Contemporary Monologues for Women also features an introduction on the whole process of selecting and preparing your speech, and approaching the audition itself. The result is the most comprehensive and useful contemporary monologue book now available. 'Sound practical advice for anyone attending an audition... a source of inspiration for teachers and students alike' Teaching Drama Magazine on The Good Audition Guides