The task of finding scene material for young actors that is within their experiential and emotional plane is a particular problem for the acting teacher. Barbara Marchant has created a valuable reference especially for teachers working with young actors. A Young Actor's Scene Book: A Training Tool is a collection of scenes specifically chosen with the undergraduate actor in mind. The material is based on issues that young people can relate to and which has enough content to make it worthwhile for them and the teacher to work on. Marchant has helpfully arranged the scenes in categories for beginning and advanced students. She has also added a section of style and language scenes for those actors with the requisite skills to tackle them. The book includes scenes from plays by Arthur Miller, Oscar Wilde, Bernard Shaw, Tom Stoppard, and David Rimmer, among others. An invaluable resource, A Young Actor's Scene Book will be useful to teachers in their ongoing quest to develop and reinforce the repertoire of their students.

Performing Shakespeare Unrehearsed: A Practical Guide to Acting and Producing Spontaneous Shakespeare outlines how Shakespeare's plays can be performed effectively without rehearsal, if all the actors understand a set of performance guidelines and put them into practice. Each chapter is devoted to a specific guideline, demonstrating through examples how it can be applied to pieces of text from Shakespeare's First Folio, how it creates blocking and stage business, and how it enhances story clarity. Once the guidelines have been established, practical means of production are discussed, providing the reader with sufficient step-by-step instruction to prepare for Unrehearsed performances. This book is written for the actor and performer.

To win a screen role, an actor must learn to contend with an on-camera audition. Understanding how to make the crucial adjustments to one 's craft that this kind of audition requires is vital to the career of any screen actor.

Auditioning On Camera sets out the key elements of a successful on-camera audition and explains how to put them into practice. Joseph Hacker draws on 35 years of acting experience to guide the reader through the screen auditioning process with an engaging and undaunting approach. Key elements examined include:

• textual analysis
• knowing where to look
• dealing with nerves
• on-camera interviews
• using the environment
• retaining the camera 's focus

The book also features point-by-point chapter summaries, as well as a glossary of acting and technical terms, and is a comprehensive and enlightening resource for screen actors of all levels.

(Amadeus). Current market forces in the performing arts, such as aging audiences, electronic media, and HD broadcasts, have changed the operatic landscape. Young opera singers entering the workforce find themselves navigating difficult and highly competitive waters. Previously ignored skill sets become assets and, in many cases, requirements in casting. But most singers graduate from college having never taken a formal acting class and knowing little about acting technique as it pertains to their craft. Singer and Actor demystifies theatrical acting technique stemming from Stanislavsky's Method of Physical Action and provides singers at all levels a roadmap with which to complete character preparation, using a clear and organized progression based on the work of Franchelle S. Dorn and exercises and examples (recitatives, arias, and ensembles). Singers (including choristers) are given the necessary tools to prepare auditions and inhabit a character from rehearsal to final performance. Singer and Actor also provides a history of acting from its beginnings to the present day, including a survey of acting techniques from Stanislavsky, Meisner, Hagen, Strasberg, Larry Moss, and others. Drawing additionally on the writings of composers and other creators of opera, the book deals with the misconception that only the singing matters in opera and includes a discussion of previous approaches to operatic acting.

This clearly written guide to the Stanislavski method has long been a favorite among students and teachers of acting. Now, in light of books and articles recently published in the Soviet Union, Sonia Moore has made revisions that include a new section on the subtext of a role. She provides detailed explanations of all the methods that actors in training have found indispensable for more than twenty years. Designed to create better actors, this guide will put individuals in touch with themselves and increase personal sensitivity as well.

Stage fright has the power to drive actors away from the stage for months, years, and even a lifetime. It is a monster that can affect any actor at any time - but it is also a challenge that can be met. In Facing the Fear - the first book of its kind written specifically for actors - performer, author and teacher Bella Merlin draws on her own and other actors' personal experiences to examine: The internal and external roots of stage fright, and how it manifests itself both psychologically and physiologically The complex relationship between the actor and the audience, and how it contributes to stage fright The cognitive processes of learning, storing and retrieving lines, and practical strategies to help The essential principles for building a healthy, fear-free rehearsal environment The techniques that actors can employ to develop their own practices, from tips on physical wellbeing to performance strategies Insightful, empowering and always reassuring, Facing the Fear is a book for any actor: for those who are experiencing or have previously suffered from stage fright, as well as for those who want to be fully prepared in case that day ever comes. It provides all the tools actors need to understand, confront and ultimately overcome stage fright and its effects, thereby regaining control over their lives and careers. (And it might just save a fortune in psychotherapist's fees!) It's also valuable reading for any teacher, director or stage manager working closely with actors, and a fascinating insight for anyone interested in what actors go through. 'An utterly engrossing book about confronting one of the most fundamental aspects of being an actor - fear.' Antony Sher

Actor Training expands on Alison Hodge s highly-acclaimed and best-selling Twentieth Century Actor Training. This exciting second edition radically updates the original book making it even more valuable for any student of the history and practice of actor training. The bibliography is brought right up to date and many chapters are revised. In addition, eight more practitioners are included - and forty more photographs - to create a stunningly comprehensive study.

The practitioners included are:

Stella Adler; Eugenio Barba; Augusto Boal; Anne Bogart; Bertolt Brecht; Peter Brook; Michael Chekhov; Joseph Chaikin; Jacques Copeau; Philippe Gaulier; Jerzy Grotowski; Maria Knebel; Jacques Lecoq; Joan Littlewood; Sanford Meisner; Vsevolod Meyerhold; Ariane Mnouchkine; Monika Pagneux; Michel Saint-Denis; W odzimierz Staniewski; Konstantin Stanislavsky; Lee Strasberg

The historical, cultural and political context of each practitioner s work is clearly set out by leading experts and accompanied by an incisive and enlightening analysis of the main principles of their training, practical exercises and key productions.

This book is an invaluable introduction to the principles and practice of actor training and its role in shaping modern theatre.

Exercises for Embodied Actors: Tools for Physical Actioning builds on the vocabulary of simple action verbs to generate an entire set of practical tools from first read to performance that harnesses modern knowledge about the integration of the mind and the rest of the body. Including over 50 innovative exercises, the book leads actors through a rigorous examination of their own habits, links those discoveries to creating characters, and offers dozens of exercises to explore in classrooms and with ensembles. The result is a modern toolkit that empowers actors to start from their own unique selves and delivers specific techniques to apply on stage and in front of the camera. This step-by-step guide can be used by actors working individually or by teachers crafting the arc of a course, ensuring that students explore in physically engaged and dynamic ways at every step of their process.

* Only covers the vowels and consonants that English speakers struggle to perfect in GenAm * There is a trend of English and Australian actors using American accents on screen and on stage. * The majority of accent reduction texts on the market are intended for ESL speakers who simply need to be understood in English. This leaves native English-speaking actors with superfluous material that is far too broad and does not address the finer points of what they need to perfect.

Columbo is 50 years old. A global smash in the 1970s, it is now a cult TV favourite. What is the reason for this enduring popularity? In this fascinating exploration of a television classic, David Martin-Jones argues that Columbo reveals how our current globalised world of 24/7 capital, invasive surveillance and online labour emerged in the late 20th century. Exploring everything from the influences on Peter Falk's iconic acting style to the show's depiction of Los Angeles, he illuminates how our attention is channelled, via technologies like television and computers, to influence how we perform, learn, police and locate ourselves in today's world. Columbo emerged alongside shows like Kojak and The Rockford Files, but re-viewing the series today reveals how contemporary television hits from Elementary to The Purge continue to shape how and why we pay attention 24/7.

Stanislavski's 'system' has dominated actor-training in the West since his writings were first translated into English in the 1920s and 30s. His systematic attempt to outline a psycho-physical technique for acting single-handedly revolutionized standards of acting in the theatre. Until now, readers and students have had to contend with inaccurate, misleading and difficult-to-read English-language versions. Some of the mistranslations have resulted in profound distortions in the way his system has been interpreted and taught. At last, Jean Benedetti has succeeded in translating Stanislavski's huge manual into a lively, fascinating and accurate text in English. He has remained faithful to the author's original intentions, putting the two books previously known as An Actor Prepares and Building A Character back together into one volume, and in a colloquial and readable style for today's actors. The result is a major contribution to the theatre, and a service to one of the great innovators of the twentieth century. This Routledge Classics edition includes a new Foreword by the director Richard Eyre.

An invaluable reference for anyone who is a working actor, or wants to be. Learn how to make it in the day-to-day business of acting and stay sane and focused while attempting to merge art and commerce. This book covers everything the author wishes someone had told him about how casting decisions are made, what rejection really means, how to behave on a set, the two factors the business is built on, and much more.

What can the Globe Theatre tell us about performing Shakespeare? Unearthing Shakespeare is the first book to consider what the Globe, today's replica of Shakespeare's theatre, can contribute to a practical understanding of Shakespeare's plays. Valerie Clayman Pye reconsiders the material evidence of Early Modern theatre-making, presenting clear, accessible discussions of historical theatre practice; stages and staging; and the relationship between actor and audience. She relays this into a series of training exercises for actors at all levels. From "Shakesball" and "Telescoping" to Elliptical Energy Training and The Radiating Box, this is a rich set of resources for anyone looking to tackle Shakespeare with authenticity and confidence.

Objectives, Obstacles, and Tactics in Practice is the first book that compiles practical approaches of the best practices from a range of practitioners on the subject of working with Stanislavski's "objectives," "obstacles," and "tactics." The book offers instructors and directors a variety of tools from leading acting teachers, who bring their own individual perspectives to the challenge of working with Stanislavski's principles for today's actors, in one volume. Each essay addresses its own theoretical and practical approach and offers concrete instructions for implementing new explorations both in the classroom and in the rehearsal studio. An excellent resource for acting and directing instructors at the university level, directing and theatre pedagogy students, high school/secondary theatre teachers, and community theatre leaders, Objectives, Obstacles, and Tactics in Practice serves as a resource for lesson planning and exploration, and provides an encyclopedia of the best practices in the field today.

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.

Black Acting Methods seeks to offer alternatives to the Euro-American performance styles that many actors find themselves working with. A wealth of contributions from directors, scholars and actor trainers address afrocentric processes and aesthetics, and interviews with key figures in Black American theatre illuminate their methods. This ground-breaking collection is an essential resource for teachers, students, actors and directors seeking to reclaim, reaffirm or even redefine the role and contributions of Black culture in theatre arts.

A tight throat; held breath; stiff muscles; stage fright: impediments to performance come in many guises, but they all spring from the same source-tension. In Physical Expression on Stage and Screen Bill Connington, a renowned teacher of the Alexander Technique, shows you how to recognize and release the tension that keeps you from performing at your best. If you're ever not certain of what to do with your hands or how to make a meaningful gesture, or if your movement feels fine in daily life but then you suddenly become self-conscious when onstage or in front of a camera, this book is here to help. More than one hundred clear, accessible exercises-including many filmed tutorials available online-will enable you to * Move more naturally and easily * Breathe more freely * Speak more clearly * Free your creative impulses * Play a character with an unfamiliar physicality

This pack contains a book of games and lists and a CD-ROM. Generating ideas from your own improve group is always best, but when you need a source for memory jogs and new inspirations to keep things lively, use this book. It includes more than seventy games and lists along with a CD-ROM so that you may print these lists directly onto labels or pages for student use. Everything is in alphabetical order for quick reference. It's all here - the five Ws and the big H (how). Three appendixes include information about the dramatic uses for games, national theatre standards and other gimmicks and tools.

A Monologue is an Outrageous Situation! How to Survive the 60-Second Audition explains how to successfully tackle the "cattle call" acting audition with a sixty-second monologue. Through Q&As, tips, director's notes, and a glossary full of outrageous actions meant to inspire the actor into truly connecting with the piece, this book shows actors where and how to find a monologue, edit it, and give the best audition possible.

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.

Stanislavski: The Basics is an engaging introduction to the life, thought and impact of Konstantin Stanislavski. Regarded by many as a great innovator of twentieth century theatre, this book examines Stanislavski's: * life and the context of his writings * major works in English translation * ideas in practical contexts * impact on modern theatre With further reading throughout, a glossary of terms and a comprehensive chronology, this text makes the ideas and theories of Stanislavski available to an undergraduate audience.

There has been an enormous revival of interest in Commedia dell'arte. And it remians a central part of many drama school courses. In Commedia dell'arte in the Twentieth Century John Rublin first examines the orgins of this vital theatrical form and charts its recent revival through the work of companies like Tag, Theatre de Complicite and the influential methods of Jacques Lecoq. The second part of the book provides a unique practical guide for would-be practitioners: demonstrating how to approach the roles of Zanni, Arlecchion, Brighella, Pantalone, Dottore, and the Lovers in terms of movement, mask-work and voice. As well as offering a range of lazzi or comic business, improvisation exercises, sample monologues,and dialogues. No other book so clearly outlines the specific culture of Commedia or provides such a practical guide to its techniques. This immensely timely and useful handbook will be an essential purchase for all actors, students, and teachers.

eBook available with sample pages: 0203408195

Play Readings: A Complete Guide for Theatre Practitioners demystifies the standards and protocols of a play reading, demonstrating how to create effective and evocative readings for those new to or inexperienced with the genre. It examines all of the essential considerations involved in readings, including the use of the venue, pre-reading preparations, playwright/director communication, editing/adapting stage directions, casting, using the limited rehearsal time effectively, simple "staging" suggestions, working with actors, handling complex stage directions, talkbacks, and limiting the use of props, costumes, and music. A variety of readings are covered, including readings of musicals, operas, and period plays, for comprehensive coverage of this increasingly prevalent production form.

How can actors bridge the gap between themselves and the text and action of a script, integrating fully their learned vocal skills? How do we make an imaginary world real, create the life of a role, and fully embody it vocally and physically so that voice and acting become one? Christina Gutekunst and John Gillett unite their depth of experience in voice training and acting to create an integrated and comprehensive approach informed by Stanislavski and his successors - the acting approach widely taught to actors in drama schools throughout the world. This updated edition contains: a new chapter on vocal embodiment of actions, new findings from neuroscience supporting the approach, more exercises, warm-up routines for training, rehearsal and performance, and a completely new glossary of terms. The authors create a step-by-step guide to explore how voice can: - Respond to our thoughts, senses, feelings, imagination and will - Fully express language in content and form - Communicate imaginary circumstances and human experience - Transform to adapt to different roles - Connect to a variety of audiences and spaces Featuring 55 illustrations by German artist, Dany Heck, Voice into Acting is an essential manual for the actor seeking full vocal identity in characterization, and for the voice teacher open to new techniques or an alternative approach to harmonize with the actor's process.

Active Analysis combines two of Maria Knebel's most important books, On Active Analysis of the Play and the Role and The Word in the Actor's Creative Work, in a single edition conceived and edited by one of Knebel's most famous students, the renowned theatre and film director, Anatoli Vassiliev. This is the first English translation of an important and authoritative fragment of the great Stanislavski jigsaw. A landmark publication. This book is an indispensable resource for professional directors, student directors, actors and researchers interested in Stanislavski, directing, rehearsal methods and theatre studies more generally.