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.

The vital building blocks of movement training - a key sourcebook for actors, directors, students and teachers. In precise detail, Darley sets out the exercises and techniques she developed with her own drama-school students. She deals with the vital building blocks of movement training: awareness, relaxation, tension-particularly Lecoq's Seven States-and suspension, before progressing to areas in which she was a pioneer: animal work, contact work, visual spacing, and the relationship between voice and movement. 'Christian was much more than a teacher, she was an indomitable and extraordinary spirit' Anna Maxwell Martin

A comprehensive study of Nicole Kidman's work through the lens of ten of her most iconic roles Nicole Kidman (b.1967), internationally renowned and one of the most celebrated actors of her generation, has starred in a host of award- winning movies. She came to worldwide recognition for her roles in Days of Thunder (1990), Far and Away (1992), and Eyes Wide Shut (1995), and has since been the recipient of numerous Golden Globe awards. Her performance as Virginia Woolf in The Hours (2002) received an Oscar for Best Actress. The Anatomy of an Actor series takes ten roles by a single actor, each studied in a dedicated chapter, and identifies the key elements that made the performances exceptional - carefully examining the actor's craft for both a professional audience and movie fans alike. Arguably the biggest star of his generation, Leonardo DiCaprio (b. 1974) is also one of its finest actors. Since first gaining attention in What's Eating Gilbert Grape at only 19 years old, he has consistently been in the public eye: notably in record-breaking Titanic in 1997, and most recently as the lead in Wolf of Wall Street, nominated for five Oscars.

A comprehensive study of George Clooney's work through the lens of ten of his most iconic roles. A new title in the fascinating Anatomy of an Actor series from world-renowned cinema magazine Cahiers du cinema. This book explores the career of George Clooney (b.1961). A TV heartthrob doctor for five years, he made one of the most successful transitions from television to being a critically acclaimed, Oscar-winning film actor starring in both mainstream and art-house films. An accessible text combines both a narrative and analytical dimension and is illustrated by 300 film stills, set photographs and film sequences The book will appeal to enthusiastic moviegoers as well as serious cinephiles, fans, and those who want to become actors.

From the Renaissance commedia dell'arte to today's Second City comedy troupe, improvisation has been a hit. Learn the structure behind the spontaneity of comedy improvisation. Over thirty-five performance-tested improv structures and performance tips in this book help even a beginner tackle this "off the cuff" humor with confidence. Learn the elements of successful improvisation: setting, characters, conflict and action, and dialog and humor. Then have fun polishing your new skills in comedy clubs, coffee houses or acting classes. Instruction on loosening up, writing routines, coping with audiences and protecting original routines through contracts and copyrights are also included. Nine chapters: Basics of improvisation and Comedy, improvisation in the Classroom, Simple Improv Structures, Character Improv Structures, Advanced Improv Structures, Advanced Acting Exercises, Forming a Comedy/Improv Show, Putting on an Improv Show, Protecting Yourself and Your Work.

For centuries the theater has been one of the major forms of art. How did acting, and its institutionalization in the theater, begin in the first place? In some cultures complex stories relate the origin of acting and the theater. And over time, approaches to acting have changed considerably. In the West, until the end of the 19th century, those changes occurred within the realm of acting itself, focusing on the question of whether acting should be 'natural' or 'formal.' Approaches to acting were closely related to the trends in culture at large. Acting became more and more professional and sophisticated as philosophical theories developed and knowledge in the human sciences increased. In the 20th century, the director was established as the most important force in the theater--able to lead actors to pinnacles of their art which they could not have achieved on their own. Approaches to acting in non-Western cultures follow quite different patterns. This book provides a clear overview of different approaches to acting, both historical and contemporary, Western and non-Western, and concludes with a challenge to the future of the art.

'Adrian Noble vigorously highlights the extraordinary rhythmic, linguistic patterns Shakespeare gives the speaker. Any actor will find this book invaluable. For any student of Shakespeare it should be essential.' (From the Foreword by Ralph Fiennes)

'How can I bring the text alive, make it vivid, how do I make people hear it for the first time? How can I enter into that world and not feel a stranger. How can I not feel clumsy and inept? ... How can I speak it without sounding artificial or "actory"? In other words, how can I make it real ...?'

Adrian Noble has worked on Shakespeare with everyone from oscar-nominated actors to groups of schoolchildren. Here he draws on several decades of top-level directing experience to shed new light on how to bring some of theatre s seminal texts to life.

He shows you how to approach the perennial issues of performing Shakespeare, including:

• wordplay using colour and playing plain, wit and comedy, making language muscular
• building a character different strategies, using the text, Stanislavski and Shakespeare
• shape and structure headlining a speech, playing soliloquys, determining a speech s purpose and letting the verse empower you
• dialogue building tension, sharing responsibility and passing the ball .

This guided tour of Shakespeare s complex but unfailingly rewarding work stunningly combines instruction and inspiration.

At the time of his death, Stanislavsky considered Nikolai Demidov to be 'his only student, who understands the System'. Demidov's incredibly forward-thinking processes not only continued his teacher's pioneering work, but also solved the problems of an actor's creativity that Stanislavsky never conquered. Despite being one of the original teachers of the Stanislavski system, Demidov's name was little known either in his native Russia or the wider world until the turn of the 21st Century. Since then, his extensive works have been published in Russian but are yet to find their way to the English-speaking world. His sophisticated psychological techniques, stimulation of creativity, and methods of developing the actors themselves are now gaining increasing recognition.This book brings together Demidov's five volumes on actor training. Supplementary materials, including transcriptions of Demidov's classes, and notes and correspondence from the author make this the definitive collection on one of Russian theatre's most important figures.

This pioneering introduction to Stanislavsky's methods and modes of actor training covers all of the essential elements of his System. Recreating 'truthful' behaviour in the artificial environment, awareness and observation, psychophysical work, given circumstances, visualization and imagination, and active analysis are all introduced and explored. Each section of the book is accompanied by individual and group exercises, forming a full course of study in the foundations of modern acting. A glossary explains the key terms and concepts that are central to Stanislavsky's thinking at a glance. The book's companion website is full of downloadable worksheets and resources for teachers and students. Experiencing Stanislavsky Today is enhanced by contemporary findings in psychology, neuroscience, anatomy and physiology that illuminate the human processes important to actors, such as voice and speech, creativity, mind-body connection, the process and the production of emotions on cue. It is the definitive first step for anyone encountering Stanislavsky's work, from acting students exploring his methods for the first time, to directors looking for effective rehearsal tools and teachers mapping out degree classes.

An authoritative, hands-on guide through the practical challenges involved in performing Shakespeare. Drawing on a lifetime's experience of playing Shakespearean roles, Oliver Ford Davies offers practical advice to actors, directors and drama students on a wide variety of scenes, characters, speeches and individual lines from almost every one of the plays. The three core sections of Performing Shakespeare take us through the whole process of Preparation, Rehearsal and Performance, preceded by discussions of the Elizabethan actor and Shakespeare's language. Also included are revealing interviews with other notable Shakespearean actors including Judi Dench, Ian McKellen, Harriet Walter, Simon Russell Beale and Juliet Stevenson. 'An invaluable guide to those who act and to all those who wish to gain deeper insights into the performance of Shakespeare's plays' Stanley Wells from his Foreword

"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.

An Actora (TM)s Work on a Role is Konstantin Stanislavskya (TM)s classic exploration of the rehearsal process, applying the techniques of his seminal actor training system to the task of bringing life and truth to onea (TM)s role.

Originally published over half a century ago as Creating a Role, this book became the third in a trilogy a " after An Actor Prepares and Building a Character, which are now combined in a newly translated volume called An Actora (TM)s Work. In these books, now foundational texts for actors, Stanislavsky sets out his psychological, physical and practical vision of actor training.

This new translation from renowned writer and critic Jean Benedetti not only includes Stanislavskia (TM)s original teachings, but is also furnished with invaluable supplementary material in the shape of transcripts and notes from the rehearsals themselves, reconfirming The System as the cornerstone of actor training.

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.

As one of the most well-known names in theatre history, Konstantin Stanislavsky's teachings on actor training have endured throughout the decades, influencing scholars and practitioners even in the present day. This second edition of Konstantin Stanislavsky combines: an overview of Stanislavsky's life and work, including recent discoveries an assessment of his widely read text, An Actor Prepares (1936) with comparisons to Benedetti's 2008 translation, An Actor's Work detailed commentary of the key 1898 production of The Seagull an indispensable set of practical exercises for actors, teachers and directors. As a first step towards critical understanding, and as an initial ex- ploration before going on to further, primary research, Routledge Performance Practitioners are unbeatable value for today's student.

"Brecht on Performance: Messingkauf and Modelbooks" presents a selection of Brecht's principal writings for directors and theatre practitioners, and is suitable for acting schools, directors, actors, students and teachers of Theatre Studies. Through these texts Brecht provides a general practical approach to acting and to realising texts for the stage that crystallises and makes concrete many of the more theoretical aspects of his other writing.The volume is in two parts. The first features an entirely new commentated edition of Brecht's dialogues and essays about the practice of theatre, known as the "Messingkauf," or "Buying Brass," including the 'Practice Pieces' for actors (rehearsal scenes for classics by Shakespeare and Schiller). The second contains rehearsal and production records from Brecht's work on productions of" Life of Galileo," "Antigone," "Mother Courage" and others.Edited by an international team of Brecht scholars and including an essay by director and teacher Di Trevis examining the practical application of these texts for theatres and actors today, "Brecht on Performance" is a wonderfully rich resource. The text is illustrated with over 30 photographs from the "Modelbooks."

Your Body Knows provides the foundation actors need to move with ease and power. It is a practical guide to movement starting at the very beginning: knowing your body and experiencing how it works. Through the work of F.M. Alexander, Rudolf Laban, and Michael Chekhov, this book offers basic training in movement fundamentals. Its step-by-step process supports the actor's work in any acting or movement training program and as a working professional. The book focuses on three main areas of exploration: Body facts - Know your body and its design for movement. Let go of misinformed ideas about your body. Move more freely, avoid injury, and develop a strong body-mind connection. Movement facts - What is movement? Discover the movement fundamentals that can serve your art. Explore new ways of moving. Creative inspiration - Connect your body, mind, and imagination to liberate authentic and expressive character movement. Your Body Knows: A Movement Guide for Actors is an excellent resource for acting students and their teachers, promoting a strong onstage presence and awakening unlimited potential for creative expression.

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.

Application of the Michael Chekhov Technique to Shakespeare's Sonnets, Soliloquies, and Monologues illustrates how to apply the Michael Chekhov Technique, through exercises and rehearsal techniques, to a wide range of Shakespeare's works. The book begins with a comprehensive chapter on the definitions of the various aspects of the Technique, followed by five chapters covering Shakespeare's sonnets, comedies, tragedies, histories, and romances. This volume offers a very specific path, via Michael Chekhov, on how to put theory into practice and bring one's own artistic life into the work of Shakespeare. Offering a wide range of pieces that can be used as audition material, Application of the Michael Chekhov Technique to Shakespeare's Sonnets, Soliloquies, and Monologues is an excellent resource for acting teachers, directors, and actors specializing in the work of William Shakespeare. The book also includes access to a video on Psychological Gesture to facilitate the application of this acting tool to Shakespeare's scenes.

'Wise, funny' Daily Mail 'Chatty and engaging . . . he often comes across as endearingly humble' Sunday Times 'Thoroughly engaging' Sunday Express magazine 'Fabulous storytelling' Prima One of 'the top 25 most compelling Hollywood autobiographies' -Guardian Hollywood legend and British national treasure Sir Michael Caine shares the wisdom, stories, insight and skills that life has taught him in his remarkable career - and now his 85th year. One of our best-loved actors Michael Caine has starred in a huge range of films - including all-time favourites - from the classic British movies Alfie, Zulu and The Italian Job to the Hollywood blockbusting Dark Knight trilogy, Dirty Rotten Scoundrels, Hannah and Her Sisters and Cider House Rules. Caine has excelled in every kind of role - with a skill that's made it look easy. He knows what success takes - he's made it to the top of his profession from the toughest beginning. But as he says 'Small parts can lead to big things. And if you keep doing things right, the stars will align when you least expect it.' Now in his 85th year he wants to share everything he's learned. With brilliant new insight into his life and work and with his wonderful gift for story, this is Caine at his wise and entertaining best.

Why are so many women still not properly listened to? Why do they sometimes feel that they're less interesting than they are? Why do they often rush when they speak? Why do some women feel the pressure to sound like little girls? From one of the world's leading experts on the voice comes this call to arms for women to reclaim their voices. Using elements of experience and practice from her prolific career, Patsy Rodenburg examines these questions, and many more, to decipher what lies at the heart of female empowerment. From the age of four, Rodenburg knew that she found communication difficult. Her struggle with her own voice set her on the journey that led her to discover her vocation. She has spent her life re-finding and re-empowering voices, particularly the lost voices of women. Watching her highly intelligent working-class mother and grandmother ignored and often silenced gave her the insight to investigate why that was and how to help women overcome this centuries-old issue. With warmth and humour, Rodenburg interrogates Shakespeare's texts and his presentation of female characters; develops the notion of rhetoric in relation to the female voice; and applies concepts explored in her previous books, including The Three Circles of Energy. And, perhaps most crucially, through arguing that power and voice are directly linked to breath, Rodenburg makes the case that Western society's oppression of women has diminished their natural ability to breathe. Exploring the female voice through practical exercises and stories from the front line, as well as profoundly personal and formative experiences from her own life, Rodenburg defines the art of accessing the voice within and reclaiming the woman's right to speak.

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.

The Michael Chekhov Handbook is a practical guide to Chekhov's supportive techniques for actors, fully updated with new exercises that examine the relationship between the sensations of the physical body and the imagination. Lenard Petit draws on 25 years of teaching experience to unlock and illuminate Michael Chekhov's philosophy, and offers guiding principles and effective tools that actors can apply in rehearsal and performance. The second edition focuses on the building blocks of drama and an exploration of the five senses as an expressive springboard, with a new section on the function of the Archetype in the Chekhov method. Theory and practice are treated here with clarity and simplicity. Dedicated to students and teachers of acting, The Michael Chekhov Handbook provides readers with the essential tools they need to put the rewarding principles of this technique into use.

Many actors treat their profession as a purely artistic endeavor, rarely conceding that there is more to making a living than simply showing up on stage or in front of a camera. By refusing to seriously acknowledge that self-promotion is vital to their livelihoods, many performers can get quickly discouraged by the vicious circle of audition and rejection. However, with a little foresight and planning, actors can learn how to become their own best advocates for a career in the business of show. In Act Like It's Your Business: Branding and Marketing Strategies for Actors, Jonathan Flom helps actors and others in the arts understand the power of branding. This guide walks the reader through the process of creating a personal brand for a small business and then marketing that brand and broadcasting it through every step of the process-from choosing clothing, arranging headshots, and designing resumes to selecting a repertoire, building a website, obtaining business cards, and networking. Flom also offers advice on such real-world issues as goal-setting, finances, contracts, and day jobs and provides insight and guidance on how to approach agents, auditions, and casting directors. A book of empowerment meant to shift the balance of control to actors themselves, Act Like It's Your Business is aimed at professional performers as well as students who are getting ready to transition from college to career. Structured logically and step by step, this accessible guide will become the standard for nearly anyone hoping to build an enduring career in the performing arts.