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

Konstantin Stanislavsky is one of the colossi not simply of Russian, but American and European theatre. His reputation is based mainly on his famous theory of acting and its application in practice. This volume contains his posthumous work, "The System and Methods of Creative Art," together with an introductory essay giving a careful exposition and a critical analysis of his 'system', and two appendices dealing with his views on stage ethics and melodrama. It provides an excellent opportunity for the study of 'the essential Stanislavsky' in a comprehensive and compact form.

Much work has been done in recent years on Quinault's librettos, but no major study of his spoken plays has appeared since the monumental thesis by Etienne Gros, published in 1926. Moreover, he has never been the subject of a monograph in English. There is a need to re-assess the influence of his life on his plays, and to re-evaluate Gros's findings in the light of eighty years' research into seventeenth-century French theatre in general. This book rejects the deterministic approach that sees his plays as apprentice pieces for the greater achievement that is his corpus of librettos, as well as the implicit comparative approach that pigeon-holes his work, in passing, by borrowing from the pithy judgements of Boileau. To what extent does Quinault's steady move away from comedy and light tragi-comedy to tragedies that combine love and menace go hand in hand with his search for greater integrity, better characterisation, and ever more credible plotting? How did he come to create and retain a tremendously faithful audience that even the withering mockery of Boileau failed to discourage? And is there any purpose in retaining the time-worn comparison between the author of Andromaque and the author of Astrate?

Konstantin Stanislavsky is one of the colossi not simply of Russian, but American and European theatre. The works of the creator of the Stanislavsky System - which later gave rise to the Method - have tended to shroud him in mystique, leading his followers to revere him as a saint and his detractors to dismiss him out of hand. As Irving Wardle says in his foreword to this edition (1986), David Magarshack's biography - first published in 1950 - offers 'a vigorous, highly readable narrative that succeeds in demystifying the working of the Moscow Art Theatre, and in removing Stanislavsky from his pedestal without cutting him down to size. To his autobiographical writings, Magarshack supplied the companion piece - A Life - and as such it remains unsuperseded.'

Master director, teacher, and theorist, Jerzy Grotowski's work extended well beyond the conventional limits of performance. Now revised and reissued, this book combines: an overview of Grotowski's life and the distinct phases of his work an analysis of his key ideas a consideration of his role as director of the renowned Polish Laboratory Theatre a series of practical exercises offering an introduction to the principles underlying Grotowski's working methods. As a first step towards critical understanding, and an initial exploration before going on to further, primary research, Routledge Performance Practitioners offer unbeatable value for today's student.

This is a unique anthology of monologues specifically suited to the competitive situation of auditioning for plays and contests. Includes an introduction to the actor with helpful suggestions for selection of monologues as well as audition tips and a resource appendix.

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

This book provides a historical overview and then-and-now comparison of performing for British television drama. By examining changing acting styles from distinct eras of television production - studio realism and location realism - it makes a unique contribution to both television and performance studies, unpacking the various determinants that have combined to influence how performers work in the medium. The book compares the original versions of The Quatermass Experiment (BBC, 1953), Doctor Who (BBC, 1963-89) and Survivors (BBC, 1975-77) with their respective modern-day re-makes, unpacking the effects of the shift from multi-camera studio to single-camera location production. Textual analysis is combined with extensive archival research into production process and reception, alongside interviews with numerous actors and production personnel from more than sixty years of television production. -- .

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

"Speaking is part of a whole: an expression of inner life." Cicely Berry has based her work on the conviction that while all is present in nature our natural instincts have been crippled from birth by many processes----by the conditioning, in fact, of a warped society. So an actor needs precise exercise and clear understanding to liberate his hidden possibilities and to learn the hard task of being true to the a instinct of the momenta . As her book points out with remarkable persuasiveness a techniquea as such is a myth, for there is no such thing as a correct voice. There is no right way----there are only a million wrong ways, which are wrong because they deny what would otherwise be affirmed. Wrong uses of the voice are those that constipate feeling, constrict activity, blunt expression, level out idiosyncrasy, generalize experience, coarsen intimacy. These blockages are multiple and are the results of acquired habits that have become part of the automatic vocal equipment; unnoticed and unknown, they stand between the actora s voice as it is and as it could be and they will not vanish by themselves. So the work is not how to do but how to permit: how, in fact, to set the voice free. And since life in the voice springs from emotion, drab and uninspiring technical exercises can never be sufficient. Cicely Berry never departs from the fundamental recognition that speaking is part of a whole: an expression of inner life. After a voice session with her I have known actors speak not of the voice but of a growth in human relationships. This is a high tribute to work that is the opposite of specialization. Cicely Berry sees the voice teacher as involved in all of a theatrea s work. She would never try to separate the sound of words from their living context. For her the two are inseparable. ----from Peter Brooka s foreword to Voice and the Actor

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.

Book of Sides II: Original, Two-Page Scenes for Actors and Directors is the second book in the Book of Sides series by Dave Kost, featuring original, two-page, two-character scenes for use in acting, directing, and auditioning classes. While shorter than the traditional three-to-six-page scenes commonly used in classes, Book of Sides II features longer scenes than the first Book of Sides with greater character development, more reversals, and stronger climaxes. Balanced, structured scenes designed specifically for educational use challenge both actors and directors equally with objectives, obstacles, tactics, and subtext; Two-page length is ideal for high-intensity exercises and faster-paced workshops; Printed in easy-to-read film-script format with plenty of room for notes; Scenes are completely original and unencumbered by copyright, so students may film and post legally on the internet; Universally castable, so all roles can be played by actors of any gender, appearance, skill level, or ethnicity; Accessibly-written for modern students, helping them to focus on the fundamentals of performance and directing; Simple and conducive to performing in a classroom without sets, costumes, or special props. This book was written by an educator for educators and designed for use in the classroom. Never search for scenes again!

The Science and Art of Acting for the Camera provides a precise yet practical approach to help unlock the mysteries of acting for film and television. Written by veteran actor, producer, and director John Howard Swain, the book offers a clear-cut, no-nonsense technique that equips aspiring or working actors with the necessary skills to succeed on camera. The technique teaches you how to build multi-dimensional characters; construct truthful and exciting relationships; ignite stimulating emotions; craft a series of discoveries guaranteed to energize your work; and much, much more. The book also provides instruction for actors working in commercials-from slating, to the dreaded "tell us about yourself" interview, to nailing "the tag" and embracing the cliche-and supplies sample commercial copy for students to practice.

Acting Exercises for Non-Traditional Staging: Michael Chekhov Reimagined offers a new set of exercises for coaching actors when working on productions that are non-traditionally staged in arenas, thrusts, or alleys. All of the exercises are adapted from Michael Chekhov's acting technique, but are reimagined in new and creative ways that offer innovative twists for the practitioner familiar with Chekhov, and easy accessibility for the practitioner new to Chekhov. Exploring the methodology through a modern day lens, these exercises are energizing additions to the classroom and essential tools for more a vibrant rehearsal and performance.

Originally published in 1978. Henry Irving achieved an astounding success in Britain and America as an actor; yet he lacked good looks, had spindly legs, and did not have a good voice. He said so himself. Today Irving is regarded as the archetype of the old-time actor, but in his own time he was regarded as a great theatrical innovator. Even Bernard Shaw, who attacked him pitilessly, even unto death, called him 'modern' when he first saw him act. Irving, the man, with his tenacious, obsessive talent, his human limitations and weaknesses, and his ephemeral glory is brought most sympathetically to life in this biography. It is written from contemporary sources, and from criticisms, lampoons, caricatures and gossip columns. If Irving reflected certain aspects of his age, this book underlines the Victorian ethic to which he appealed and the backcloths against which it was set - the extraordinary lavishness of the Lyceum productions and the incredible extravagance of social entertaining. Not the least absorbing aspect of this biography is the fascinating account of the long partnership between Irving and Ellen Terry, still in many respects an enigmatic one, but here portrayed with lively insight into character combined with understanding and deep knowledge of the social and theatrical context of the Victorian age.

The gap between theory and practice in rehearsal is wide. many actors and directors apply theories without fully understanding them, and most accounts of rehearsal techniques fail to put the methods in context.
Systems of Rehearsal is the first systematic appraisal of the three principal paradigms in which virtually all theatre work is conducted today - those developed by Stanislavsky, Brecht and Grotowski. The author compares each system ot the work of the contemporary director who, says Mitter, is the Great Imitator of each of them: Peter Brook. The result is the most comprehensive introduction to modern theatre available.

eBook available with sample pages: 020313169X

This accessible, systematic guide will teach you how to memorise your lines quickly and effectively, and let go of the fear of forgetting them - helping you build confidence and focus, and reducing anxiety and stress around auditions, rehearsal and performance. Inside, you'll find dozens of tips, tricks and techniques such as Memory Palaces, Mental Maps, Creative Memorisation, Visual Cues and many more, along with exercises and examples to illustrate how they work in practice. Discover how to harness these tools to strengthen your memory, and develop a personalised line-learning strategy that works for you and your acting process - one that is easier, faster and more enjoyable. The Compact Guides are pocket-sized introductions for actors and theatremakers, each tackling a key topic in a clear and comprehensive way. Written by industry professionals with extensive hands-on experience of their subject, they provide you with maximum information in minimum time.

The Method Acting Exercises Handbook is a concise and practical guide to the acting exercises originally devised by Lee Strasberg, one of the Method's foremost practitioners. The Method trains the imagination, concentration, senses and emotions to 're-create' - not 'imitate' - logical, believable and truthful behavior on stage and in film. Building on nearly 30 years of teaching internationally and at the Lee Strasberg Theatre and Film Institute in New York and Los Angeles, Lola Cohen details a series of specific exercises in order to provide clear instruction and guidance to this preeminent form of actor training. By integrating Strasberg's voice with her own tried and tested style of teaching, Cohen demonstrates what can be gained from the exercises, how they can inform and inspire your learning, and how they might be applied to your acting and directing practice. As a companion to The Lee Strasberg Notes (Routledge 2010), a transcription of Strasberg's own teaching, The Method Acting Exercises Handbook offers an unparalleled and updated guide to this world renowned technique.

If, as an actor, your body is your 'instrument' - and the only way you can express the internal impulses of the character you're playing - what happens when the body-mind, 'psychophysical' connection is lost? Andrei Droznin, Russia's foremost teacher of physical actor training, calls this loss the 'desomatization' of the human body, and argues that these connections urgently need to be restored for full expressivity. This is a genuinely unique book which links theory to practice by a man who has worked at the very top of Russian theatre; a movement specialist who has taught at the Moscow Art Theatre as well as drama schools all over the world. Beautifully translated by Natasha Fedorova, this volume will excite and inspire a new generation of English-language readers.

Voice and Speech for Musical Theatre is the first book to combine traditional actor vocal training with musical theatre training, offering support and guidance for performers seeking to train their spoken voice specifically for singing and performing in musical theatre. Performers in musical theatre are working harder than ever. The shifting and extreme nature of the modern musical theatre repertoire requires performers capable of mastering musicianship, singing and dancing while at the same time providing convincing and clear performances as actors. Voice and Speech for Musical Theatre will help train musical theatre performers in the longer modes of voice needed to create convincing and moving performances. Ideal for the triple-threat performer, Voice and Speech for Musical Theatre features exercises for performers, tips for teachers and online video resources, allowing for a focused and outcome-oriented training of vocal techniques for musical theatre performers.

Secrets of Acting Shakespeare isn't a book that gently instructs. It is a passionate, yes-you-can guide designed to prove that anybody can act Shakespeare. Patrick Tucker's classic manual encourages trained and amateur actors alike to look to the original practices of the Elizabethan theatre for inspiration. He explores the 'cue scripts' used by actors, who knew only their own lines, to demonstrate the extraordinary way that these plays work by ear. This updated second edition includes: A section dedicated to the modes of address 'thee' and 'you' A brand new chapter on Original Practices and cue scripts An expanded genealogical chart, showing the interrelations of 92 different characters from the history plays A new discussion of Elizabethan acting spaces - balconies, gates, ramparts and even backstage areas Secrets of Acting Shakespeare is a must-read for actors intrigued by the 'Original Approach' to acting Shakespeare, or for anyone curious about how the Elizabethan theater worked.

Secrets of Acting Shakespeare isn't a book that gently instructs. It is a passionate, yes-you-can guide designed to prove that anybody can act Shakespeare. Patrick Tucker's classic manual encourages trained and amateur actors alike to look to the original practices of the Elizabethan theatre for inspiration. He explores the 'cue scripts' used by actors, who knew only their own lines, to demonstrate the extraordinary way that these plays work by ear. This updated second edition includes: A section dedicated to the modes of address 'thee' and 'you' A brand new chapter on Original Practices and cue scripts An expanded genealogical chart, showing the interrelations of 92 different characters from the history plays A new discussion of Elizabethan acting spaces - balconies, gates, ramparts and even backstage areas Secrets of Acting Shakespeare is a must-read for actors intrigued by the 'Original Approach' to acting Shakespeare, or for anyone curious about how the Elizabethan theater worked.

Playing Bit Parts in Shakespeare is a unique survey of the small supporting roles - such as foils, feeds, attendants and messengers - that feature in Shakespeare's plays. Exploring such issues as how bit players should conduct themselves within a scene, and how blank verse or prose may be spoken to bring out the complexities of character-definition, Playing Bit Parts in Shakespeare brings a wealth of insights to the dynamic of scenic construction in Shakespeare's dramaturgy. M.M. Mahood explores the different functions of minimal characters, from clearing the stage to epitomizing the overall effect of the comedy or tragedy, and looks at how they can extend the audience's knowledge of the social world of the play. She goes on to describe the entire corpus of minimal roles in a selection of six plays: * Richard III * The Tempest * King Lear * Antony & Cleopatra * Measure for Measure * Julius Caesar This new edition comes enhanced with a new Appendix, 'Who Says What', especially designed to aid directors in making decisions about the speaking parts of the minimal characters. It also comes complete with an index of characters (including line references) as well as a detailed general index. An invaluable aid for directors and actors in the rehearsal room, this perceptive and informative volume is equally of interest to students studying and writing about Shakespeare's plays.