Actors and Audiences explores the exchanges between those on and off the stage that fill the atmosphere with energy and vitality. Caroline Heim utilises the concept of "electric air" to describe this phenomenon and discuss the charge of emotional electricity that heightens the audience's senses in the theatre. In order to understand this electric air, Heim draws from in-depth interviews with 79 professional audience members and 22 international stage and screen actors in the United Kingdom, United States, France and Germany. Tapping into the growing interest in empirical studies of the audience, this book documents experiences from three productions - The Encounter, Heisenberg and Hunger. Peer Gynt - to describe the nature of these conversations. The interviews disclose essential elements: transference, identification, projection, double consciousness, presence, stage fright and the suspension of disbelief. Ultimately Heim reveals that the heart of theatre is the relationship between those on- and off-stage, the way in which emotions and words create psychological conversations that pass through the fourth wall into an "in-between space," and the resulting electric air. A fascinating introduction to a unique subject, this book provides a close examination of actor and audience perspectives, which is essential reading for students and academics of Theatre, Performance and Audience Studies.

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.

Four inspirational tales of Essex resilience intertwine to make an unmissable world premiere by the region's most exciting playwrights. The Essex Princess by Anne Odeke It's 1908 and Joanna's planning to provoke the attention of Southend and the whole of the nation, by becoming the first black woman to compete in a beauty pageant. Fiza by Guleraana Mir Fiza's moved home with her parents. Under dire circumstances... At nearly 40. Will she pick herself up in time for the dreaded school reunion? Never Never Land by Kenny Emson Tag's out with the lads in 1998 - it's his last night as a proper Essex boy. But there are last nights, and there are last nights. Everybody Gets Born by Sadie Hasler Daisy's having a baby. Yep, right now. Actually having a baby. The drugs kick in, the room goes fuzzy, and Daisy finds herself back in 1978... in her mum's glam band.

A lapsed academic haunted by her past, and by an ambiguous angel, in the backwoods of the American South; a Midwestern widower dreams of returning to the Ireland of his youth; a heartsick cabbie auditions for his ex in a pub-theatre in Cork City; a schizophrenic grapples for freedom from the mother in his mind; three voices of the COVID-19 pandemic seek long-distance resolution and reunion. In these and other monologues, selected from over two decades of work, award-winning American playwright Dan O'Brien illuminates, in heartbreaking and unwavering fashion, the humanity of lost souls longing to be heard. "Dan O'Brien is a playwright-poet who, like a mash-up of Seamus Heaney and Dashiel Hammett, puts the audience in the middle of an unfolding mystery promising both revelation and terror, and delivering an equal measure of both." Robert Schenkkan "O'Brien is an outstanding wordsmith and a sharp observer of character." Variety "emotionally gripping, psychologically astute...a bracing and absorbing piece of theater." New York Times (Critics' Pick) on The Body of an American "A masterpiece of truthfulness and feeling" The Guardian on War Reporter "utterly riveting...frequently exhilarating" The Washington Post on The Body of an American

Sor Juana Ines de la Cruz (1648-1695) was famous in her time as a brilliant intellectual, poet, and playwright and is recognized in our time as an early feminist. Her masterpiece of comic theatre, Los empenos de una casa receives its first

Sprinkled amply with practical, helpful dos and don'ts throughout, the book presents the basic information of how Hollywood works.

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 user-friendly, comprehensive guide is the essential reference tool for everyone in the world of museums and galleries whose work brings them into contact with copyright-related questions. It addresses relevant issues from a practical perspective and answers questions such as:
* what is copyright?
* how long does copyright last?
* how can you make money from copyright?
* what are the consequences of unauthorised use?
A Guide to Copyright for Museums and Galleries shows that when properly handled, copyright can provide opportunities for museums and galleries to achieve their core objectives. Written by a team of legal experts on copyright, this will be an absolute essential for all museums and galleries.

First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

Of all the subjects taught in the school system, dramatic arts probably has the greatest potential to help students prepare for life.

The study of acting helps students develop personal and social skills: increased poise and confidence, better awareness of their physical and vocal selves, and an improved ability to think and react quickly. These talents can help in dealing with sometimes difficult real life situations.

The intention of Acting Skills for Life is to integrate personal growth and the process of creative drama with the more formal skills required for stage production.

This is a very practical book, full of suggestions for drama exercises and improvisations, developed over Cameron's thirty years of teaching drama, and includes helpful information for teachers working with students on stage productions.

Reframing Acting in the Digital Age: Nimbly Scaling Actor Training in the Academy refocuses how actors work in TV, film, and stage. In this refreshing text, Preeshl integrates original interviews with 25 theatre, film, TV, and digital media experts from leading international programs to create an essential contribution to actor training studies. These interviews cover diverse topics such as contemporary training methods, industry standards, and experiential learning, incorporating interdisciplinary recommendations from academics and professionals alike to navigate undergraduate actor training in the digital age. Digitally native undergraduates arrive at university being well versed in the digital and technological world, but as technologically savvy as these Millenials and Generation Z are, Preeshl and her interviewees show how acting and production degree programs can reframe these competencies to enable students to acquire and transfer digital skills. This phenomenological study bridges actor training methods across media to promote 'scaling' to update undergraduate actor training for the digital age. By applying the recommendations of these experts to curricular practices, universities may increase market share, diversity, and graduate employability. This in-depth field study is a vital read for acting teachers, students, professional actors, and scholars within theatre and film programs.

In the second volume of his "Mask: A Release of Acting Resources" David Griffiths provides a detailed and sensitive view of the Japanese Noh theatre: historically, philosophically (with an evaluation of Zeami's treatises) and in respect of the rigorous practicalities of Noh training. The latter is given particular authority and insight because of the access Griffiths had to Noh actors in training and performance. Greatly enhanced by the author's illustrations, this volume gives one of the most accessible introductions to Noh that is available in English. Appended to the descriptive and analytic material is a short play, "The Dove," written by Griffiths (and subsequently professionally performed) described as 'unashamedly' acknowledging its Noh influence. This one woman piece is a sensitive and evocative drama with subtle references to its cultural source. Its potential as an exercise in mask work is excellent.

The aim of this publication is to deepen awareness of the body and the self through meditative movement and dance, rekindle the imagination by developing greater self-awareness, and to provide starting points to create expressive movement. The book suggests a wealth of exercises which stem from the natural movement of the body.

The aim of this publication is to deepen awareness of the body and the self through meditative movement and dance, rekindle the imagination by developing greater self-awareness, and to provide starting points to create expressive movement. The book suggests a wealth of exercises which stem from the natural movement of the body.

This issue of "Contemporary Theatre Review" focuses on the "pre-expressive" and a range of related concepts: "score", "underscore", or "subscore", text and performance-text, the body and mind of the performer, cultural and linguistic embedding, and "presence" or the "pre-performative". Authors include performers, directors and actor-trainers, a physicist, a theatre semiotician, and "bio-aesthetician", academics, and drama and dance teachers.

The Pulitzer Prize winning playwright, director and teacher has written a blunt, unsparingly honest guide to acting. In True and False David Mamet overturns conventional opinion and tells aspiring actors what they really need to know. He leaves no aspect of acting untouched: how to judge the role, approach the part, work with the playwright; the right way to undertake auditions and the proper approach to agents and the business in general. True and False slaughters a wide range of sacred cows and yet offers an invaluable guide to the acting profession.

For nearly 25 years, expertise has been considered an important testing ground for theories of cognition. Cognitive scientists have examined experts as diverse as chess masters, waiters, field-hockey players, and computer programmers. Recently, increased attention has been given to the arts, including dance, music appreciation and performance, and literary analysis. It is therefore somewhat surprising that--except for the authors' program of research dating from the late 1980s--virtually no studies on the cognitive processes of professional actors can be found in the literature. These experts not only routinely memorize hours of verbal material in a very short time, but they retrieve it verbatim along with the accompanying gestures, movements, thoughts, and emotions of the characters. The mental processes involved in this task constitute the subject of this recent research and are described in detail in this book.

For nearly 25 years, expertise has been considered an important testing ground for theories of cognition. Cognitive scientists have examined experts as diverse as chess masters, waiters, field-hockey players, and computer programmers. Recently, increased attention has been given to the arts, including dance, music appreciation and performance, and literary analysis. It is therefore somewhat surprising that--except for the authors' program of research dating from the late 1980s--virtually no studies on the cognitive processes of professional actors can be found in the literature. These experts not only routinely memorize hours of verbal material in a very short time, but they retrieve it verbatim along with the accompanying gestures, movements, thoughts, and emotions of the characters. The mental processes involved in this task constitute the subject of this recent research and are described in detail in this book.

"From Acting to Performance" collects for the first time major essays by performance theorist and critic Philip Auslander.
Spanning over a decade, the essays survey the changes in acting and performance that occurred during the transition from the ecstatic theatre of the Vietnam era to the postmodern irony of the 1980s. Starting with the modern acting theories that inspired theatrical experimentalists of the 1960s such as Jerzy Grotowski and Jacques Copeau and ranging to 1990s performance artists and stand-up comics such as Kate Bornstein and Rosanne Barr, "From Acting to Performance" provides critical analyses of modernist acting theories. Auslander argues that traditional theatre and contemporary performance studies are united by shared concerns and critical approaches.

From Acting to Performance collects for the first time major essays by performance theorist and critic Philip Auslander. Together these essays provide a survey of the changes in acting and performance during the crucial transition from the ecstatic theatre of the 1960s to the ironic postmodernism of the 1980s.
Auslander examines performance genres ranging from theatre and dance to performance art and stand-up comedy. In doing so he discusses an impressive line-up of practitioners including Antonin Artaud, Jerzy Grotowski, Peter Brook, Willem Dafoe, the Wooster Group, Augusto Boal, Kate Bornstein, and Orlan.
From Acting to Performance is a must for all students and scholars interested in contemporary theatre and performance.

Women in Russian Theatre is a fascinating feminist counterpoint to the established area of Russian theatre populated by male artists such as Stanislavsky, Chekov and Meyerhold. With unprecedented access to newly-opened files in Russia, Catherine Schuler brings to light the actresses who had an impact upon Russian modernist theatre.
Schuler brings to light the extradordinary lives and work of eight Russian actresses who flourished on the stage between the late nineteenth and early twentieth century.

eBook available with sample pages: HB:0415111056

First published in 2004. Routledge is an imprint of Taylor and Francis, an informa company.

First Published in 1994. Routledge is an imprint of Taylor & Francis, an informa company.

Adolphe Appia swept away the foundations of traditional theatre and set the agenda for the development of theatrical practice this century. In Adolphe Appia: Texts on Theatre, Richard Beacham brings together for the first time selections from all his major writings. The publication of these essays, many of which have long been unavailable in English, represents a significant addition to our understanding of the development of theatrical art. It will be an invaluable sourcebook for theatre students and welcomed as an important contribution to the literature of the modern stage.