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.

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.

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.

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.

Andy Nyman's first book, The Golden Rules of Acting, has become a bestseller in the acting world. Now he returns to bring you more priceless nuggets gleaned from more than thirty years in the acting business. This book will help you to... Learn to love auditions and self-tapes (yes, really!) Look after your mental health Deal with success and failure Burst a few bubbles that need bursting Written with the same candid wit as his first book, this is every actor's new best friend - in handy paperback form. 'With great humour, wisdom and panache, Andy Nyman presents tasty advice for any actor. He knows that the more rules and craft under your belt, the more daring and original you will be as an artist' Glenn Close 'As with the first volume, this book gets to the heart of what being a working actor is about. No faff, no mystery, just practicalities that are always worth being reminded of' Martin Freeman 'One man shouldn't be so wise and entertaining, but Andy Nyman somehow is. His latest Golden Rules are exactly that - and wild fun, to boot. I recommend this book not just to actors, but to anyone who has ever seen an actor act. Nyman's insights apply to us all' J.J. Abrams

A semester-long curriculum guide using improv games to teach basic drama skills. If used with Improv Ideas by the same authors, there are enough games and ideas to provide for more than a year's work. Select from more than 134 games! It's adaptable to all age groups - from beginners to experts. The lessons are structured sequentially with emphasis on group building. It's designed to teach holistically. Students are unaware they are being taught many new skills with every lesson. This curriculum is the culmination of many years of evolution and testing.

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'?

For the first time, the world-renowned Arden Shakespeare is producing Performance Editions, aimed specifically for use in the rehearsal room. Published in association with the Shakespeare Institute, the text features easily accessible facing page notes - including short definitions of words, key textual variants, and guidance on metre and pronunciation; a larger font size for easier reading; space for writing notes and reduced punctuation aimed at the actor rather than the reader. With editorial expertise from the worlds of theatre and academia, the series has been developed in association with actors and drama students. The Series Editors are distinguished scholars Professor Michael Dobson and Dr Abigail Rokison and leading Shakespearean actor, Simon Russell Beale.

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.

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.

A comprehensive training course in screen acting by an internationally renowned teacher and acting coach who has worked with actors of all backgrounds and experience - from drama school students at the start of their careers to Hollywood stars, including Daniel Craig, Angelina Jolie and Keira Knightley. Mel Churcher has developed a series of five workshops which take actors step by step through the process of creating, developing and delivering assured performances on screen. Accompanied by ninety minutes of online film clips, showing all of the work in action, this book builds on these workshops and lets you progress through them at your own pace: Workshop 1: Keeping the Life encourages you to find what is unique about yourself and how you can preserve this vitality when acting on screen Workshop 2: Inhabiting the Role focuses on the emotional and psychological steps required in preparing your performance Workshop 3: The Physical Life introduces a series of practical exercises to develop the physicality and imagination of the actor Workshop 4: Through the Eye of the Camera explains the technical skills you must master to act in front of a lens Workshop 5: Off to Work We Go covers how to prepare for auditions and then how to handle specific challenges when you get the job Each exercise, technique and tip is vividly illustrated in online film clips taken from the author's actual workshops. The result is a vital masterclass in every aspect of acting on screen. Foreword by Jeremy Irons. 'When the whole business seems to have gone loopy, dip into Mel Churcher's book; somehow she always makes sense' Bob Hoskins

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.

How do actors fuse thought, emotion and action within their creative process? Essential Acting is an inspired and reliable toolbox for actors and teachers in the classroom, the rehearsal room and the workshop. RADA's Brigid Panet has distilled nearly 60 years of acting, directing and actor training into a unique recipe which brilliantly combines the teachings of Stanislavsky and Laban into an invaluable practical resource. These exercises are built around the need for simple, achievable techniques that can be applied by actors, teachers and directors to answer the myriad requirements of actor training. The goal is to produce a continuous level of achievement, addressing: * How to rehearse * How to work with a text * How to audition for drama school * How to access the truth of feelings and actions Essential Acting will be a must-have purchase for anyone looking for a comprehensive study guide to the necessary work of the actor.

Acting Greek Tragedy explores the dynamics of physical interaction and the dramaturgical construction of scenes in ancient Greek tragedy. Ley argues that spatial distinctions between ancient and modern theatres are not significant, as core dramatic energy can be placed successfully in either context. Guiding commentary on selected passages from Aeschylus, Sophocles and Euripides illuminates the problems involved with performing monologue, dialogue, scenes requiring three actors, and scenes with properties. A companion website - actinggreektragedy.com - offers recorded illustrations of scenes from the Workshops. What the book offers is a practical approach to the preparation of Greek scripts for performance. The translations used have all been tested in workshops, with those of Euripides newly composed for this book. The companion website can be found here: www.actinggreektragedy.com

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.

"An Actor Prepares" is the first volume of Stanislavski's enduring trilogy on the art of acting. Fusing psychological realism and expressionism, his exploratory exercises teach actors to evoke past emotions that draw out their vulnerability. Stanislavski here introduces such concepts as the "magic if," "emotion memory," the "unbroken line" and many more now famous rehearsal aids. This classic manual is written from the viewpoint of fictional actors taking lessons from a director (based on Stanislavski). Through the student's mistakes, questions, revelations, and struggles, Stanislavski teaches the actor about the stage, truth, and life itself.

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.

"As You Like It: The 30-Minute Shakespeare" presents seven captivating scenes from this merry play. Rosalind, disguised as a man ("Ganymede"), "teaches" the art of romantic wooing to Orlando.

The cutting includes Jaques' timeless "Seven Ages of Man" speech; Touchstone the Fool's courtship of Audrey; and the hilarious love triangle between Silvius, Phebe, and Rosalind (as Ganymede). The entire cast joins in the delightful song "A Lover and His Lass" to bring a rousing end to this charming comedy.

The edition includes helpful advice by Nick Newlin on how to put on a Shakespeare production in a high school class with novice actors, as well as tips for performing the specific play and recommendations for further resources.

"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.

This book is a study of the thematic, narrative, and musical structure of Yuanqu xuan [A Selection of Yuan Plays] edition of the Yuan zaju (variety play) Dou E yuan [Injustice to Dou E] originally composed by the highly regarded playwright Guan Hanqing (fl. 1260). Although other authors have studied these three aspects of Dou E yuan separately, this is the first comprehensive treatment of the topic as a scholarly monograph in English. Yumin Ao's analysis is based on the edition of the play in the Yuanqu xuan [A Selection of Yuan Plays] compiled by the Ming publisher Zang Maoxun (ca. 1550-1620). Ao proposes that Dou E yuan, as a dramatic narrative which develops through its enactment on the stage rather than by verbal presentation as a story, displays its integrative structure of narration through its thematic development and within its musical conventions.

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.

Gender specific! Not just another book of scenes but a wide variety of topics and situations fine-tuned to recreate the day-to-day experiences of young women. This wonderfully diversified collection of monologs, dialogs, trios and quartets deals with subjects of self-discovery, survival in the real world, and daunting decisions both tragic and trivial. These sixty characterizations will make both performers and audience laugh, cry and know themselves better. Excellent for speech contests, acting exercises or auditions. Lengths vary from two minutes to six minutes each. A superbbook for any drama library. Sample titles: Mom or Me. Winners, Losers, First Date, Hurricane Force. He Promised Never Again, Bestest Dog, Nowheresville, Cyber Romance, The Last Kiss of Summer.