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 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

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.

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.

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.

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.

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.

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.

Written by a team of legal experts on copyright, 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 unauthorized 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. This is an essential text for all museums and galleries.

Actors of colour need the best speeches to demonstrate their skills and hone their craft. Roberta Uno has carefully selected monologues that represent African-American, Native American, Latino, and Asian-American identities. Each monologue comes with an introduction and notes on the characters and stage directions to set the scene for the actor. This new edition now includes more of the most exciting and accomplished playwrights to have emerged over the 15 years since the Monologues for Actors of Color books were first published, from new, cutting edge talent to Pulitzer winners.

How can teachers incorporate drama into the curriculum? What drama activities are especially successful? How do teachers know when students are learning in, through and about drama? Teachers who are new to drama, or those wishing to refresh their knowledge and ideas, should find practical answers and guidance in this text. The book introduces the work of Cecily O'Neill to demonstrate the entry points to drama lessons, the pre-texts, and how educators need to introduce lessons with challenging material. He then uses the work of David Booth to highlight one aspect of drama - storydrama - and how it can be used as an effective learning medium across the curriculum.

Includes 110-minute DVD
A unique new approach to the understanding and training of the actor's voice.
Structured as a series of practical workshops, the book leads you, session by session, through the foundations of release and relaxation, breath and voice support. Later sessions concentrate on developing your stamina and muscularity, deep resonance, and your ability to create and sustain extreme vocal states.
The book will help you to develop a voice that is utterly integrated with your body, breath, mind and emotion - and, therefore, with any character or text you are working on.
Accompanying the book is a 110-minute DVD, showing many of the exercises and sessions in action, and featuring full-length workouts and warm-ups which you can join in with, to help you prepare your own voice.
The result is a systematic and rigorous course to train and improve one of your most important instruments as an actor. It will prove essential reading (and viewing) for students, training actors, working professionals - and their teachers and coaches.
"A great cause for celebration... a trustworthy and highly instructive companion to the work that takes place in the studio." Jane Boston, Head of the International Centre for Voice

Elizabeth Taylor's electrifying performance in Who's Afraid of Virginia Woolf? The milkshake scene in There Will be Blood. Leonardo DiCaprio's turn as Arnie in What's Eating Gilbert Grape? What makes these performances so special? Eloquently written and engagingly laid out, Murray Pomerance answers the tough question as to what makes an exceptional, or virtuosic performance. Pomerance intensively explores virtuosic performance in film, ranging from classical works through to contemporary production, and gives serious consideration to structural problems of dramatization and production, actorial methods and tricks, and contingencies that befall performers giving stand-out moments. Looking at more than 40 aspects of the virtuosic act, and using an approach based in careful meditation and discursion, Virtuoso moves through such themes as showing off, effacement, self-consciousness, performative collapse, spontaneity, acting as dream, acting and femininity, virtuosity and torture, secrecy, improvisation, virtuosic silence, and others; giving special attention to the labors of such figures as Fred Astaire, Johnny Depp, Marlene Dietrich, Basil Rathbone, Christopher Plummer, Leonardo DiCaprio, Alice Brady, Ethel Waters, James Mason, and dozens more. Numerous scenic virtuosities are examined in depth, from films as far-ranging as Singin' in the Rain and The Bridge on the River Kwai, and My Man Godfrey. As the first book about virtuosity in film performance, Virtuoso offers exciting new angles from which to view film both classical and contemporary.

The Art of Unarmed Stage Combat is a guide to the principles and techniques of theatrical violence, combining detailed discussions of the mechanics of stage fighting with the nuances of acting decisions to make fighting styles reflect character and story. Expert Fight Director Robert Najarian offers never-before-published games and exercises that allows actors to develop the skills and concepts for performing violence for stage and screen. This title utilizes a unique system of training techniques that result in stage violence that is both physically engaging for the performer, while remaining viscerally engaging for the audience. This book is written for the actor and fight director.

This is a comprehensive workbook for actors, covering the key characteristics and profiles of a wide range of African accents of English. Its unique approach not only addresses the methods and processes by which to go about learning an accent, but also looks in detail at each example. This lets the reader plot their own route through the learning process and tailor not only their working methods but also their own personal idiolect. Full breakdowns of each accent cover: an introduction giving a brief history of the accent, its ethnic background, and its language of origin preparatory warm-up exercises specific to each accent a directory of research materials including documentaries, plays, films and online resources key characteristics such as melody, stress, pace and pitch descriptions of physical articulation in the tongue, lips, jaw, palate and pharynx practice sentences, phoneme tables and worksheets for solo study. African Accents is accompanied by a website at www.routledge.com/cw/mcguire with an extensive online database of audio samples for each accent. The book and audio resources guide actors to develop their own authentic accents, rather than simply to mimic native speakers. This process allows the actor to personalize an accent, and to integrate it into the creation of character rather than to play the accent on top of character.

A 'fast-forward' acting course covering all the essential techniques an actor needs to know and use - with a suite of exercises to put each technique into practice. John Abbott's The Acting Book offers various ways to analyse a text and to create character, using not only the established processes of Stanislavsky and Meisner, but also new ones developed by the author over many years of teaching drama students. It also sets out a wide range of rehearsal techniques and improvisations, and it brims over with inventive practical exercises designed to stimulate the actor's imagination and build confidence. The book will be invaluable to student actors as an accompaniment to their training, to established actors who wish to refresh their technique, and to drama teachers at every level. 'Abbott knows what he's talking about and has a gift for expressing himself in straightforward, clutter-free language' The Stage on Improvisation in Rehearsal

"An analysis of script interpretation for the theater. The text includes theories on performance as well as examples from the works of Shelley, Ibsen and Pinter. In his new preface, Hornby laments the modernization of classic plays which he believes subverts the original text." -Library Journal

As part of the ever-growing, increasingly popular Drama Games series, Jessica Swale returns with another dip-in, flick-through, quick-fire resource book, packed with dozens of drama games that can be used in the process of devising theatre. The games will be invaluable to directors and theatre companies at all levels who are creating new pieces of theatre from scratch and need lively, dynamic games to fire the imagination. They will particularly appeal to school, youth theatre and community groups where devising is a growing trend - and a core element of the drama curriculum. Written with clear instructions on How to Play, notes on the Aim of the Game, and illuminating examples from professional productions, the games cover every aspect of the devising process and develop all the skills required: generating ideas, creating characters and scenarios, using stimuli, structuring the piece, and creating an ensemble. Mike Leigh, the most dedicated and celebrated creator of devised work, hails the book in his foreword as 'highly original and massively useful'. 'A remarkable compendium of games and exercises... a lively starting point for rich invention' Mike Leigh, from his Foreword

Creating Solo Performance is an innovative toolbox of exercises and challenges focused on providing you - the performer - with engaging and inspiring ways to explore and develop your idea both on the page and in the performance space. The creation of a solo show may be the most rewarding, liberating and stressful challenge you will take on in your career. This book acts as your silent collaborator as you develop your performance, by helpfully arranging exercises under the following headings: Beginnings Creating character Generating material Using your performance space Technology Endings Collaboration Exercises can be explored in sequence, at random or according to your specific needs and interests as a performer. By enabling you to create a bespoke formula that best applies to your specific subject, area of interest, style and discipline, this book will become an indispensable resource as you produce your solo show.

Auditions are an integral part of every performer's life. From getting into drama school through to a successful career in an overcrowded industry, Auditions: The Complete Guide offers crucial advice, resources and tried and tested techniques to maximise success before, during and after each audition. Written by an established casting director and former actor, with over 35 years of experience on a wide range of productions, this book offers a wealth of personal and professional insights, covering: * drama and theatre schools * showcases * amateur and professional auditions * contemporary, classical, physical and musical theatre * television and commercial castings, movie screen tests and self taping * voice-overs and radio drama * networking * recalls and workshops * handling job offers, and rejection From training to triumph, nerves to networking and camera to casting couch, Auditions: The Complete Guide is an entertaining, accessible and indispensable read for every performer. Richard Evans CDG has cast a wide variety of productions in all media since 1989 and, prior to this, worked as an actor for 10 years. He has devised and presented audition and career development workshops at many top drama and theatre schools worldwide, and at the Actors Centre, London and has written Auditions: A Practical Guide (Routledge, 2009) and 'A Casting Director's Perspective' for The Actors' Yearbook, 2005. He is a member of The Casting Directors' Guild of Great Britain and Ireland. www.auditionsthecompleteguide.com

Integrative Performance serves a crucial need of 21st-century performers by providing a transdisciplinary approach to training. Its radical new take on performance practice is designed for a climate that increasingly requires fully rounded artists. The book critiques and interrogates key current practices and offers a proven alternative to the idea that rigorous and effective training must separate the disciplines into discrete categories of acting, singing, and dance. Experience Bryon's Integrative Performance Practice is a way of working that will profoundly shift how performers engage with their training, conditioning and performance disciplines. It synthesizes the various elements of performance work in order to empower the performer as they practice across disciplines within any genre, style or aesthetic. Theory and practice are balanced throughout, using: Regular box-outs, introducing the work's theoretical underpinnings through quotes, case studies and critical interjections. A full program of exercises ranging from training of specific muscle groups, through working with text, to more subtle structures for integrative awareness and presence. This book is the result of over twenty years of practice and research working with interdisciplinary artists across the world to produce a training that fully prepares performers for the demands of contemporary performance and all its somatic, emotive and vocal possibilities.

A practical investigation into story-theatre and the art of telling stories through theatre, by the renowned director who founded Shared Experience Theatre Company. In Then What Happens?, Mike Alfreds makes the case for putting story and storytelling back at the heart of theatre. He explores the whole process of adapting for the stage, and investigates the particular techniques - many of them highly sophisticated - that actors require when performing 'story-theatre'. The book includes over two hundred exercises, improvisations and workshops dealing with the practical aspects of story-theatre, such as building an ensemble, creating a physical vocabulary, and transforming written narrative into drama. It draws on examples ranging from traditional legends and folklore, through the works of Jane Austen, Charles Dickens and Evelyn Waugh, to contemporary fiction. Alfreds shows how each story demands its own particular set of dramatic choices, opening up endless possibilities for performance. Then What Happens? - like the author's tremendously successful first book, Different Every Night - will be invaluable to directors and actors, to dramatists working in the field of adaptation, to those devising and working from improvisation, and to any theatregoer who has been moved by the power of an unfolding story to ask: 'Then what happens?' 'All theatre directors know that good narrative is the secret of good theatre, but few have as distinctive, rigorous and exceptional a method of exploring that secret as does Mike Alfreds. His system of working, and his thoughts on the making of theatre in our time, are as crucial and illuminating as those of Stanislavsky and Peter Brook have been to generations of theatre enthusiasts and practitioners.' Michael Coveney

When this book was originally published in 1957 there had been lively debates on the air and in the press about the bearing of modern philosophy upon Christianity, but there had been relatively little sustained discussion of the subject. This book of essays was the product of a small group of Oxford philosophers and theologians, who had met and talked informally for some years before writing it. It is an attempt to discuss with care and candour some of the problems raised for Christian belief by contemporary analytical philosophy. In asking the questions raised, this book makes articulate the perplexities of many intelligent people, both believers and unbelievers. The contributors concentrate on the way such concepts as God, Revelation, the Soul, Grace are actually used rather than asserting or denying some very general theory of meaning.

"a work on the art and craft of comedy as important in its own way as works by Stanislavski and Chekhov" - Oxford Theatre Companion In 1939, a young, inexperienced actor wrote to a famous actress of his acquaintance, asking for advice on playing comedy. She responded enthusiastically, and they corresponded variously over the next year. The Craft of Comedy, a record of these exchanges, soon emerged as one of the few classic texts in the field of comedy acting. This major new edition takes a brilliant book and makes it better. Editor Robert Barton has devised extensive supplementary material, including: An introduction to the correspondents, the culture of the time, and the evolution of their book; Summaries, definitions, and exercises and practice scenes for readers wishing to explore Athene Seyler's invaluable advice; Photographs, additional essays by Seyler, and a guide to easily accessed video clips of her performing. Seyler's lucid guidance, and Barton's scrupulous editorship, ensure this legendary work's rightful status is restored: as one of the great practical guides to the craft of comedy, and an essential resource for actors and students of acting.