An exciting and invaluable collection of audition speeches, all chosen from plays produced by the National Youth Theatre of Great Britain, spanning more than sixty years as one of the world's leading companies for young performers. Featuring seventy-five monologues by acclaimed writers such as Zawe Ashton, Moira Buffini, Carol Ann Duffy, Brian Friel, James Fritz, James Graham, Dennis Kelly, Rebecca Lenkiewicz, Gbolahan Obisesan, Evan Placey, Sarah Solemani and Jack Thorne, the book offers rich and diverse roles ranging from teens to adults. Each audition speech also comes with invaluable supporting material - compiled by NYT Associate Artist Michael Bryher - to help you perform the piece to its maximum effect, including: A detailed description of the play that the speech is originally from Contextual information such as what's just happened in the play, where the monologue takes place, to whom the character is talking, and what their motivations are Things to think about when rehearsing and performing the speech The book also provides extensive advice on choosing a speech, working on it and preparing for auditions, plus tips and first-hand insights into the monologues from current NYT members and alumni who've performed them. An ideal resource for actors auditioning for drama school, the NYT or elsewhere, as well as those preparing for showcases or competitions, National Youth Theatre Monologues offers a wide and diverse range of roles, themes and styles - meaning you'll be able to find the speech that's just right for you.

In this digital age, it is more exciting than ever to seek a career in the entertainment industry-from stuntmen and musicians to actresses, dancers, and even make-up artists. With the advent of social media, YouTube, Facebook, and more, someone with talent in any medium can (and needs to) create their own brand, steer their career, and master the art of "virtually auditioning" at all times with every post. This is a far cry from the "old days" of paper headshot and cattle calls. Forbes Riley, an overnight success 20+ years in the making, shares her insights, obstacles, and successes as she pursued her career as an actress, dancer, and TV host. For her, meeting Will Quinones and hearing his dream of building his audition platform, Virdition, to help struggling artists of all levels was a dream come true. Virdition takes auditioning to a whole new level and helps aspiring entertainers truly understand the possibilities from contest shows like The Voice and American Idol to feature film casting.

A handbook, complete with graded exercises, for teachers and students wanting a practical introduction to Laban's famous system of movement. Rudolf Laban is to movement what Stanislavski is to acting. He devised the first wholly successful system for recording human movement, a system which is increasingly influential in the training of actors and dancers. 'required reading for every young student of the theatre - and a lot of the older ones would reap enormous benefit from it' Murray Melvin

Each chapter of this book presents a single day of the twenty-day training which Ruth Zaporah developed into "Action Theater," her investigation into the life-reflecting process of improvisation. This book shows through exercises, stories, anecdotes, and metaphors how to focus attention on the body's awareness of the present moment, moving away from preconceived ideas. Improvisations move through fear, boredom, laziness, and distraction to a sustained awareness of creative options.

The Commedia dell'Arte of Flaminio Scala presents a translation and commentary of selected scenarios composed or collected by the actor-manager Flaminio Scala that were first published in 1611. Thirty of Scala's 50 scenarios are included, complete with a detailed scene-by-scene analysis that demonstrates the methodology of Italian improvised theatre in the early modern period for the purposes of study as well as re-creation. Taking into consideration previous translations of the work, Richard Andrews's English translation and lengthy analytic commentary of the scenarios provide an overview of the commedia dell'arte style, describing how actors fleshed out scenes by inserting existing material from their repertoire into a plot framework and demonstrating a constant interchange of plot, characterization, and scene structure that moved between scripted and improvised comedy. Andrews points out similarities between the scenarios, borrowings from earlier Italian scripted comedies, analogies with other early modern drama including Shakespeare, and the re-use of these components by later dramatists such as Moliere and Goldoni. An extensive introduction sets the parameters for the commentaries, giving a description of commedia dell'arte as a phenomenon, explaining the categories of masked characters, and describing the nature and structure of the genre. A comprehensive index is organized for quick reference and lists which characters and masks appear in which scenarios, as well as frequent scenic components that recur, such as types of speeches, relationships, and emotional situations.

The monologs in this new text are highly original works not found in other published versions. All are from very recently produced plays from both established and emerging new writers. The fifty selections are specifically suited to auditioning. The monologs in this collection are for actors 15 to 30 years of age, suitable for competitive auditioning, class or studio work, or general reading. About two-thirds of the selections are for women, and about one-third are specifically for minority actors. These monologs address the major trends and conflicts of today, through revealing glimpses of society as we know it. Includes the work of forty-seven contemporary American playwrights. A must for any auditioning actor or theatre student. Featuring monologs from: Retro and Sea of Forms by Megan Terry, Voice of the Prairie by John Olive, Night Luster by Laura Harrington, Stuck by Adele Edling Shank, Punk Girls by Elizabeth Wong, Sunday Sermon by David Henry Hwang, Abingdon Square by Maria Irene Formes, Les Trois Dumas by Charles Smith, Prodigal Kiss by Caridad Svich, Rough Stock by Ric Averill and many more.

Anyone who is really serious about being an actor or teaching true acting techniques needs this book. Leading professionals believe it will be one of the best acting texts ever published. The author has performed on stage, film and TV opposite many of theatre's leading actors and actresses. In a step-by-step process, Carlton Colyer leads the actor in building a technique and then fully explains how to put that technique to work from basic exercises to multidimensional performances. More than fundamentals, this book covers the complete actor-training process from amateur to professional level. Two sections: PART 1: BUILDING A TECHNIQUE--Exercises, Creative Imagination, Personalization, Physicalization, Improvisation, Releasing Emotion and more. PART 2: PUTTING TECHNIQUE TO USE--Scene Classes, Building Roles in Different Dramatic Forms, Styles of Acting, Developing Characters, Getting a Part and much more.

With On Screen Acting, director Edward Dmytryk and actress Jean Porter Dmytryk offer a lively dialogue between director and actress about the principles and practice of screen acting for film and television. Informal and anecdotal in style, the book spans auditioning, casting, rehearsal, and on-set techniques, and will be of interest to both aspiring and working actors and directors. Originally published in 1984, this reissue of Dmytryk's classic acting book includes a new critical introduction by Paul Thompson, as well as chapter lessons, discussion questions, and exercises.

There are about ten books in the world on stage performance training. Most of them are in English, but there are a few in Spanish. There are none in Russian, although the father of modern theater, Konstantin Stanislavski, was born in Russia. In singing, regardless of genre and style, the element of stage performance is missing. There is no normal training for communicating with the audience. It is accepted by most vocal pedagogues that it is enough to sing the notes correctly, but there is much more to do. For singers who study opera and operetta, it is essential to stretch the limits of performance, and that is why they also study acting. For everyone else, this is not necessary, because they have other tasks on stage. They must learn to self-regulate, not to wait for directional instructions. This book is valuable in that it teaches singers to direct their own stage performance. Representing the author's conclusions based on careful analysis of a number of successful and unsuccessful stage performances of numerous singers of different stature, it gives them the basic knowledge and guidance on how to approach and develop their show from one song to one concert. It teaches singers how to be more successful on stage, how to be more charismatic and how to manage their audience the way they want.

"It will not disappoint . . ." -Ian McKellen, from the Foreword An Authoritative Training Manual for Film Actors and Teachers "In today's entertainment industry of buff bodies and beautiful faces, it's easy to think that a couple of sit-ups and high cheek bones can create a movie legend," writes film veteran Cathy Haase. However, she adds, what the actor really must have are "technique, craft, and a depth of self-knowledge." In Acting for Film, Second Edition, Haase shows actors how to develop all of these, sharing her secrets (developed through years of on-camera work) for creating characters who come alive and who touch the souls of the audience. Readers will learn how to apply theatrical training to film acting and hone a personal approach to rendering a character. Acting for Film, Second Edition, is an essential guide for aspiring performers, acting teachers, and anyone interested in gaining a greater understanding of the craft. This new edition includes: Advice on dealing with new technology including CGI and motion capture Concentration and relaxation exercises that will enhance facial expressiveness Exploration of sense memory techniques for on-camera work Animal exercises and their usages Tips for maintaining proper eye focus in front of the camera and conveying the "beats" of a scene, even in the shortest takes For any performer who intends to make a living in front of the camera, Acting for Film, Second Edition, is the most authoritative resource! With Haase's experience and advice in their pocket, readers will be prepared to land the film role they've been dreaming of.

Teaching Acting with Practical Aesthetics uses constructivist pedagogy to teach acting via Practical Aesthetics, a system of actor training created in the mid-1980s by David Mamet. The book melds the history of Practical Aesthetics, Practical Aesthetics itself, educational theory, and compatible physical work into the educational approach called Praxis to create a comprehensive training guide for the modern actor and theatre instructor. It includes lesson plans, compatible voice and movement exercises, constructivist teaching materials, classroom handouts, and a suggested calendar for Acting courses. Written for Acting instructors at the college and secondary levels, Acting scholars, and professionals looking for a new way to perform, Teaching Acting with Practical Aesthetics offers detailed instructions to help students sharpen their performing skills and excel on stage.

Throughout any theatrical production, the director is pivotal to the success of the operation. He or she is entrusted with the responsibility of making decisions that affect the artistic and often financial welfare of the entire production. Covering all the stages of theatrical production, from initial preparation to final performance, this meticulous volume explains, in depth and yet with clarity, how to identify elements of a play that will make for a success, and how to choose and guide collaborators towards putting this into practice.

Teaching Strategies for Neurodiversity and Dyslexia in Actor Training addresses some of the challenges met by acting students with dyslexia and highlights the abilities demonstrated by individuals with specific learning differences in actor training. The book offers six tested teaching strategies, created from practical and theoretical research investigations with dyslexic acting students, using the methodologies of case study and action research. Utilizing Shakespeare's text as a laboratory of practice and drawing directly from the voices and practical work of the dyslexic students themselves, the book explores: the stress caused by dyslexia and how the teacher might ameliorate it through changes in their practice the theories and discourse surrounding the label of dyslexia the visual, kinaesthetic, and multisensory processing preferences demonstrated by some acting students assessed as dyslexic acting approaches for engaging with Shakespeare's language, enabling those with dyslexia to develop their authentic voice and abilities a grounding of the words and the meaning of the text through embodied cognition, spatial awareness, and epistemic tools Stanislavski's method of units and actions and how it can benefit and obstruct the student with dyslexia when working on Shakespeare Interpretive Mnemonics as a memory support and hermeneutic process, and the use of color and drawing towards an autonomy in live performance This book is a valuable resource for voice and actor training, professional performance, and for those who are curious about emancipatory methods that support difference through humanistic teaching philosophies.

Staging Sex lays out a comprehensive, practical solution for staging intimacy, nudity, and sexual violence. This book takes theatre practitioners step-by-step through the best practices, tools, and techniques for crafting effective theatrical intimacy. After an overview of the challenges directors face when staging theatrical intimacy, Staging Sex offers practical solutions and exercises, provides a system for establishing and discussing boundaries, and suggests efficient and effective language for staging intimacy and sexual violence. It also addresses production and classroom specific concerns and provides guidance for creating a culture of consent in any company or department. Written for directors, choreographers, movement coaches, stage managers, production managers, professional actors, and students of acting courses, Staging Sex is an essential tool for theatre practitioners who encounter theatrical intimacy or instructional touch, whether in rehearsal or in the classroom.

Talking Shakespeare is a collection of essays on Shakespeare's plays and politics and their impact in the world today. Originally given as provocative talks on Shakespeare at some of the most prestigious universities, conferences, and theatres around the world, they reflect on the author's more than thirty-year career as a producer, director and educator. The essays provide a unique and personal look into multiple aspects of Shakespeare's world-and ours.

'Absolutely delicious . . . Janelle Brown is a surgeon of the complex relationships between women. I gobbled this up' Emma Straub, New York Times bestselling author of All Adults Here 'You won't be able to put this novel down and you won't want to' Laura Dave, no. 1 New York Times bestselling author of The Last Thing He Told Me 'One of those books you'll devour' Chris Bohjalian, New York Times bestselling author of The Flight Attendant 'Janelle Brown has done it again. She has created a deliciously twisty page-turner you won't be able to put down' Angie Kim, Edgar Award-winning author of Miracle Creek 'You be me, and I'll be you' I whispered. As children, Sam and Elli were two halves of a perfect whole: gorgeous identical twins whose parents sometimes couldn't even tell them apart. And once Hollywood discovered them, they became B-list child TV stars, often inhabiting the same role. But as adults, their lives have splintered. After leaving acting, Elli reinvented herself as the perfect homemaker: married to a real estate lawyer, living in a house just blocks from the beach. Meanwhile, Sam has never recovered from her failed Hollywood career, or from her addiction to the pills and booze that have propped her up for the last fifteen years. Sam hasn't spoken to her sister since her destructive behavior finally drove a wedge between them. So when her father calls out of the blue, Sam is shocked to learn that Elli's life has been in turmoil: her husband moved out, and Elli just adopted a two-year-old girl. Now she's stopped answering her phone and checked in to a mysterious spa in Ojai. Is her sister just decompressing, or is she in trouble? Could she have possibly joined a cult? As Sam works to connect the dots left by Elli's baffling disappearance, she realizes that the bond between her and her sister is more complicated than she ever knew.

Stanislavski in Practice is an unparalleled step-by-step guide to Stanislavski's system. Author Nick O'Brien makes this cornerstone of acting accessible to teachers and students alike through the use of practical exercises that allow students to develop their skills. This second edition offers more exercises for the actor, and also new sections on directing and devising productions. Each element of the system is covered practically through studio exercises and jargon-free discussion. Exercises are designed to support syllabi from Edexcel, Eduqas, OCR and AQA to the practice-based requirements of BTEC and IB Theatre. This is the perfect exercise book for students and a lesson planner for teachers at post-16 and first year undergraduate level. New to this edition: Thoroughly reorganized sections, including 'Work on the Actor', 'Work on a Role' and 'Developing your Practice'; A new chapter on using Stanislavski when devising with a series of exercises that will allow students to structure and create characters within the devising process; A new chapter, Directing Exercise Programme, which will be a series of exercises that allows the student to develop their skills as a director; New glossary with US and UK terms; New exercises developed since the publication of the first edition; A new chapter going beyond Stanislavski, exploring exercises from Michael Chekhov, Maria Knebel and Katie Mitchell.

Transformative acting remains the aspiration of many an emerging actor, and constitutes the achievement of some of the most acclaimed performances of our age: Daniel Day-Lewis as Lincoln, Meryl Streep as Mrs Thatcher, Anthony Hopkins as Hannibal Lecter - the list is extensive, and we all have our favourites. But what are the physical and psychological processes which enable actors to create characters so different from themselves? To understand this unique phenomenon, Vladimir Mirodan provides both a historical overview of the evolution of notions of 'character' in Western theatre and a stunning contemporary analysis of the theoretical implications of transformative acting. The Actor and the Character: Surveys the main debates surrounding the concept of dramatic character and - contrary to recent trends - explains why transformative actors conceive their characters as 'independent' of their own personalities. Describes some important techniques used by actors to construct their characters by physical means: work on objects, neutral and character masks, Laban movement analysis, Viewpoints, etc. Examines the psychology behind transformative acting from the perspectives of both psychoanalysis and scientific psychology and, based on recent developments in psychology, asks whether transformation is not just acting folklore but may actually entail temporary changes to the brain structures of the actors. The Actor and the Character speaks not only to academics and students studying actor training and acting theory, but contributes to current lively academic debates around character. This is a compelling and original exploration of the limits of acting theory and practice, psychology, and creative work, in which Mirodan boldly re-examines some of the fundamental assumptions of actor training and some basic tenets of theatre practice to ask: What happens when one of us 'becomes somebody else'?

In (toward) a phenomenology of acting, Phillip Zarrilli considers acting as a 'question' to be explored in the studio and then reflected upon. This book is a vital response to Jerzy Grotowski's essential question: "How does the actor 'touch that which is untouchable?'" Phenomenology invites us to listen to "the things themselves", to be attentive to how we sensorially, kinesthetically, and affectively engage with acting as a phenomenon and process. Using detailed first-person accounts of acting across a variety of dramaturgies and performances from Beckett to newly co-created performances to realism, it provides an account of how we 'do' or practice phenomenology when training, performing, directing, or teaching. Zarrilli brings a wealth of international and intercultural experience as a director, performer, and teacher to this major new contribution both to the practices of acting and to how we can reflect in depth on those practices. An advanced study for actors, directors, and teachers of acting that is ideal for both the training/rehearsal studio and research, (toward) a phenomenology of acting is an exciting move forward in the philosophical understanding of acting as an embodied practice.

Have you ever prepared a speech until you knew it by heart and then found out that, when the moment arrives, the surprise and uniqueness of hic et nunc are inevitable? No matter how much you prepare a text, it will need improvisation to be used on a stage or in the street. But, what is the limit between improvisation and technique, experience and training? Can we scientifically measure the improvisation of a text? This work aims to investigate in which dimension art meets science and how it happens. Artists need to discover new conceptual instruments that contribute to the probing of the laws of matter, social existence, and the human mind. The rigorous and fascinating trip that Anna Grazia Cafaro proposes to capture the sense, function, and nature of the actor's improvisation is a splendid and a unique example of a "new alliance" between art and science, predicted forty years ago by the scientist Ilya Prigogine and the philosopher Isabelle Stengers. Thanks to the application of Chaos Theory to the theatrical processes, attempted here for the first time, the actor and the performance are analyzed as "complex dynamic systems" like a cell, in which, paradoxically, chaos and order coexist and maintain the system in balance; the continuous passages from chaos to order, create the necessary tension and energy that allows the spectator to build his own meaning. Despite the complex theoretical concepts this book is written in an accessible language and includes clear examples that make it comprehensible to a wide audience. It is perfect for students of theater, practitioners, scholars, and anyone who is curious about communicative mechanisms. It can be used in theater, science, comparative literature, and philosophy departments.

"A haunting and often fiercely funny meditation. . . . The marvel of Mr. Eno's voice is how naturally it combines a carefully sculptured lyricism with sly, poker-faced humor. Everyday phrases and familiar platitudes--'Don't ever change, ' 'Who knows'--are turned inside out or twisted into blunt, unexpected punch lines punctuating long rhapsodic passages that leave you happily word-drunk."--"The New York Times" on "Title and Deed"

Known for his wry humor and deeply moving plays, Will Eno's "gift for articulating life's absurd beauty and its no less absurd horrors may be unmatched among writers of his generation" ("The New York Times"). This new volume of the acclaimed playwright's work includes five short plays about being alive--"Behold the Coach, in a Blazer, Uninsured"; "Ladies and Gentlemen, the Rain"; "Enter the Spokeswoman, Gently"; "The Bully Composition"; and "Oh, the Humanity"--as well as "Title and Deed," a haunting and severely funny solo rumination on life as everlasting exile.

Will Eno is the author of Thom Pain (based on nothing), which ran for a year Off-Broadway and was a 2005 Pulitzer Prize finalist. Other works include "Middletown"; "The Flu Season"; "Tragedy: a tragedy"; "Intermission"; "The Realistic Joneses"; and "Gnit," an adaptation of Henrik Ibsen's "Peer Gynt." His many awards include the PEN/Laura Pels International Foundation for Theatre Award, the Horton Foote Prize, and the first-ever Marian Seldes/Garson Kanin Fellowship from the Theater Hall of Fame.

In 1927, the first production of Pygmalion was staged in Brazil. At the time, over 65 per cent of the adult Brazilian population was illiterate, which makes it all the more surprising that directors and producers dared to stage such a controversial playwright - a writer who had often been rejected by the more sophisticated theatregoer in England. This book analyses the reception of almost a century of Brazilian productions of Pygmalion, My Fair Lady, Arms and the Man, Candida and Mrs Warren's Profession, setting that analysis in the context of the political, economic and cultural climate at the time of each production. What emerges is a faithful portrait of a country where theatre and theatre criticism are precariously established, and the theatregoer with no knowledge of English cannot be certain that the translation or adaptation they are watching bears anything more than a passing resemblance to the original. Nonetheless, Brazil has also witnessed a number of fine productions, presented by highly skilled actors and directors and reviewed by well-informed and articulate critics. As well as supplying fascinating detail on the wide range of Shaw productions staged in Brazil over the last ninety years, this volume also generates valuable insights into the complexities of twentieth-century Brazilian society.

Ian Wilkie contends that comic acting is a distinct art form, and as such demands a unique skillset. By exploring the ways in which performance choices and improvised moments can work in conjunction with texts themselves, Performing in Comedy offers an indispensable practical tool for enhancing comic performance. This volume is a must-read for any actors, directors or students who work with comic texts. Wilkie synthesises theories and principles of comedy with practical tips, and re-evaluates the ways in which these ideas can be used by the performer. Most importantly, these skills - timing, focus, awareness - are teachable rather than being innate talents. Exercises, interviews and guides to further resources enhance this comprehensive exploration of comic acting.

Forty fantastic female speeches for teenagers, all written since the year 2000, by some of the most exciting and acclaimed writers working today. Whether you're applying for drama school, taking an exam, or auditioning for a professional role, it's likely you'll be required to perform one or more monologues, including a piece from a contemporary play. It's vital to come up with something fresh that's suited both to you - in order to allow you to express who you are as a performer - and to the specific purposes of the audition. In this invaluable collection you'll find forty speeches by leading contemporary playwrights including Andrew Bovell, Nadia Fall, Vivienne Franzmann, James Fritz, Stacey Gregg, Arinze Kene, Cordelia Lynn, Lynn Nottage, Chinonyerem Odimba, Evan Placey, Jessica Swale and Tom Wells, from plays that were premiered at many of the UK's most famous and respected venues, including the National Theatre, Shakespeare's Globe, Manchester Royal Exchange, Royal Court Theatre, Bush Theatre, and the Edinburgh Festival Fringe and VAULT Festival. Drawing on her experience as an actor, director and teacher at several leading drama schools, Trilby James introduces each speech with a user-friendly, bullet-point list of ten things you need to know about the character, and then five ideas to help you perform the monologue. This book also features an introduction to the process of selecting and preparing your speech, and approaching the audition itself. '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