'I wish I'd had this book when I was starting out as a young director... I cannot recommend it highly enough.' Marianne Elliott, from her Foreword This dip-in, flick-through, quick-fire resource book in the bestselling Drama Games series offers dozens of ideas and exercises to energise and inspire a bold, creative rehearsal process for any play, of any period or genre. Aimed at directors of all levels, it covers every aspect of rehearsal, including: Warm-up exercises to prepare the body, voice and mind, and to create a strong ensemble Ideas for approaching the text, tackling the 'Story of the Play' A wealth of games for unlocking the 'World of the Play', including developing characters, finding a physical style, understanding genre and investigating themes Suggestions for exploring sound and music, whether for use in the production or simply to encourage a sense of fun in rehearsals This essential 'go-to' book will provide you with a host of original and illuminating games, perfect for the play you're rehearsing, be it Shakespeare or Greek tragedy, a Restoration comedy, physical theatre, Modern Naturalism - or even a brand new play. Marianne Elliott, one of the most innovative and exciting directors working anywhere in the world, describes it as a 'beautiful, and very clearly written book' which will become her 'constant companion in future'.

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.

Many theatre practitioners think of physical theatre as one thing and text-based theatre as another. In this book, Dymphna Callery, author of Through the Body: A Practical Guide to Physical Theatre, shows how exercises and rehearsal techniques associated with physical and devised theatre can be applied to scripted plays. Working 'through the body' enables performers to discover what really makes a play work. Drawing on key practitioners, including Jacques Lecoq, Joan Littlewood, Peter Brook and Simon McBurney, The Active Text offers a complete approach to working with a scripted play, leading the reader through a process of active exploration and experimentation that includes: Uncovering a play's internal dynamics Using improvisation and theatre games Exploiting the languages of the body Getting inside the words that are spoken (as well as those that aren't!) Discovering image structures Understanding the impact on the audience Throughout the book, the author draws on a core selection of well-known texts (from Sophocles and Shakespeare to Brecht, Arthur Miller, Steven Berkoff and Sarah Kane), showing how an active approach to text can challenge assumptions about even the most familiar of plays. Packed with theatre games, improvisation exercises and rehearsal techniques, The Active Text is an inspirational guide for performers, directors, students and teachers. It will revitalise work in the rehearsal room, workshop or classroom - anywhere that dramatic text needs to be brought to life.

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.

What is physical dramaturgy? While the traditional dramaturg shares research intellectually, the physical dramaturg does so viscerally and somatically. By combining elements of text, history, dramatic structure, and the author's intent with movement analysis and physical theatre pedagogies, the physical dramaturg gives actors the opportunity to manifest their work in a connected and intuitive manner and creates a field that is as varied and rich as the theatre itself. Physical Dramaturgy: Perspectives from the Field explores the ways in which this unique role can benefit the production team during the design and rehearsal phases of both traditional and devised productions. Individual chapters look at new ways of approaching a wealth of physical worlds, from the works of Shakespeare and other period playwrights to the processes of Jerzy Grotowski, Lloyd Williamson, Richard Schechner, and Michael Chekhov, and devising original works in a variety of contexts from Pig Iron, Dell'Arte International, Bill Bowers and mime, Tectonic Theater Project, and Liz Lerman's Dance Exchange. This anthology gives dramaturgs, actors, and directors new ways of looking at existing methods and provides examples of how to translate, combine, and adapt them into new explorations for training, rehearsal, or research.

Over the last century, film actors from Charlie Chaplin and Lillian Gish to Meryl Streep and Jeff Daniels have spoken about the art and technique of playing to the camera. This fascinating anthology of their "insiders" observations will delight film lovers and aspiring film actors everywhere. The book has been edited by four leading film and theater historians, who have brought together selections from periodicals and books (some no longer in print), had some statements or conversations translated into English for the first time, and conducted new interviews with working actors. The book is divided into four parts-"The Silent Performance," "Finding a Voice," "European Acting," and "Hollywood Acting"-each of which is introduced by a brief commentary. This chronological and topical structure allows one actor to talk or argue with another as they offer astute-and often contradictory-opinions on a broad range of theoretical concerns. Among the issues they discuss are stage versus screen performance, the spiritual, emotional, and psychological underpinnings of the actor's art, and the performer's response to technical demands and other exigencies of filmmaking. The book, which also includes an insightful general introduction, film biographies of the actor-authors, and aptly chosen movie stills, is an essential resource-one that gives us, says Stanley Kauffmann, "the mapping of a new territory in art."

A practical handbook for those wanting to use drama and theatre to explore personal and social issues in their work with young people, Making a Leap Theatre for Empowerment has developed from ten years of active research in community settings. The authors' holistic approach to theatre-making draws on a range of disciplines, including theatre in education, community theatre, youth work, group work and conflict resolution. Suitable for use by both experienced theatre practitioners and beginners, the book provides a model that is adaptable for work with diverse groups of young people over different timescales a day, a week, or a period of months. Making a Leap Theatre for Empowerment is a flexible resource for all professionals working with drama and young people.

"Generations of actors joining the RSC have benefited from John Barton's teaching" Trevor Nunn "One of the sanest, wisest and most practical volumes I have ever read about Shakespeare" Michael Billington John Barton is Advisory Director at the Royal Shakespeare Company and has directed some of the greatest Shakespeare productions of our time. His book, Playing Shakespeare, is a transcript of his televised workshops with some of our finest Shakespearean actors: Peggy Ashcroft, Judi Dench, Ian McKellen, Ben Kingsley, Patrick Stewart and David Suchet. "What the programmes and published text reveal, is the method and principle approach of acting Shakespeare which has been fundamental to the Royal Shakespeare Company since it was formed" Trevor Nunn. This new edition contains a DVD with 80mins of video featuring John Barton in conversation with Judi Dench, Ian McKellen, Patrick Stewart and Jane Lapotaire discussing changes in approaches to Shakespeare's text since the book first published. This edition also features a foreword by Michael Boyd. A highly readable and non-academic approach to understanding Shakespeare's text - unlocking the hidden stage directions and actors clues that reside in his verse. "When an actor becomes aware of them, s/he will find that Shakespeare himself starts to direct them" John Barton.

A practical guide to the principles of teaching and learning movement, this book instructs the actor on how to train the body to become a medium of expression. Starting with a break-down of the principles of actor training through exercises and theatre games, Dick McCaw teaches the actor about their own body and its possibilities including: the different ways it can move, the space it occupies and finally its rhythm, timing and pacing. With 64 exercises supported by diagrams and online video, Dick McCaw draws on his 20 years of teaching experience to coach the reader in the dynamics of movement education to achieve a responsive and articulate body.

An engaging, upbeat guide for any student thinking of applying to drama school.
If you're thinking of applying to drama school, "The Excellent Audition Guide" will give you everything you need to prepare well and perform your audition to the best of your ability. Experienced actor, director and drama teacher Andy Johnson leads you through every step of the application process: researching drama schools, writing personal statements and CVs, choosing and working on your speeches and songs, brushing up technical and vocal skills. And, of course, how to tackle the auditions themselves by being true to yourself and making fear your friend.
A reassuring, encouraging 'how to' book that demystifies an often scary-looking process, "The Excellent Audition Guide" is ideal not just for applicants themselves, but also for parents, teachers and career advisors looking to help young people fulfill their acting ambitions.
'Smart, dynamic and inspiring, this is an invaluable book for anyone thinking of trying for drama school' Michael Simkins
'There's only one book in the world I would read about getting into drama school and doing good auditions. It's this one.' Vanessa Kirby ("Great Expectations, Labyrinth, Three Sisters, Jupiter Ascending")
'This book is accurate and beautifully concise. I wish Andy's written wisdom had been with me when I was applying to drama school.' Freddie Fox (Guildhall School of Music and Drama, "The Judas Kiss, Hay Fever, The Mystery of Edwin Drood")

THE GOOD AUDITION GUIDES: Helping you select and perform the audition piece that is best suited to your performing skills Each Good Audition Guide contains a range of fresh monologues, all prefaced with a summary of the vital information you need to place the piece in context and to perform it to maximum effect in your own unique way. Each volume also carries a user-friendly introduction on the whole process of auditioning. Shakespeare Monologues for Women contains 50 monologues drawn from across the Shakespeare canon. Each speech is prefaced with an easy-to-use guide to Who is speaking, Where, When and To Whom, What has just happened in the play and What are the character's objectives. In fact, everything the actor needs to know before embarking on the audition! Shakespeare Monologues for Women is edited by director, teacher and academic Luke Dixon. 'Sound practical advice for anyone attending an audition' Teaching Drama Magazine on the Good Audition Guides

This book of contemporary monologues for women includes pieces from the best of the last three decades of contemporary playwriting, from Caryl Churchill and Michael Frayn to Martin McDonagh and Sarah Kane. Including pieces by award-winning British playwrights, here are pieces both serious and comic providing the actor with all the challenges of performing contemporary plays. The book is an invaluable resource for auditions, acting class, competitions and rehearsals. A fuller appreciation of each monologue is provided by Chrys Salt's invaluable commentaries, giving clues as to possible direction and setting each piece in the context of the play as a whole.

Praise for Chrys Salt's Make Acting Work: "A really useful book for every actor to own" Prunella Scales; "This book should be part of every resourceful actor's armoury" Annette Badland

The Science and Art of Acting for the Camera provides a precise yet practical approach to help unlock the mysteries of acting for film and television. Written by veteran actor, producer, and director John Howard Swain, the book offers a clear-cut, no-nonsense technique that equips aspiring or working actors with the necessary skills to succeed on camera. The technique teaches you how to build multi-dimensional characters; construct truthful and exciting relationships; ignite stimulating emotions; craft a series of discoveries guaranteed to energize your work; and much, much more. The book also provides instruction for actors working in commercials-from slating, to the dreaded "tell us about yourself" interview, to nailing "the tag" and embracing the cliche-and supplies sample commercial copy for students to practice.

In eighteenth-century England, actresses were frequently dismissed as mere prostitutes trading on their sexual power rather than their talents. Yet they were, Felicity Nussbaum argues, central to the success of a newly commercial theater. Urban, recently moneyed, and thoroughly engaged with their audiences, celebrated actresses were among the first women to achieve social mobility, cultural authority, and financial independence. In fact, Nussbaum contends, the eighteenth century might well be called the "age of the actress" in the British theater, given women's influence on the dramatic repertory and, through it, on the definition of femininity. Treating individual star actresses who helped spark a cult of celebrity-especially Anne Oldfield, Susannah Cibber, Catherine Clive, Margaret Woffington, Frances Abington, and George Anne Bellamy-Rival Queens reveals the way these women animated issues of national identity, property, patronage, and fashion in the context of their dramatic performances. Actresses intentionally heightened their commercial appeal by catapulting the rivalries among themselves to center stage. They also boldly challenged in importance the actor-managers who have long dominated eighteenth-century theater history and criticism. Felicity Nussbaum combines an emphasis on the actresses themselves with close analysis of their diverse roles in works by major playwrights, including George Farquhar, Nicholas Rowe, Colley Cibber, Arthur Murphy, David Garrick, Isaac Bickerstaff, and Richard Sheridan. Hers is a comprehensive and original argument about the importance of actresses as the first modern subjects, actively shaping their public identities to make themselves into celebrated properties.

The Art of Raising an Artist guides parents in helping their children explore the world of acting and ultimately invest in their child's future. Actor and director, Lilia Sixtos has seen thousands of auditions and taught hundreds of artists. By raising her two creative children, she has learned every possible way a creative person's journey can be helped or hindered by their parents. In The Art of Raising an Artist, she shows parents how to: Identify the best training they can provide for their child within their means Develop a safe and loving space for the challenges of their child's journey Create the support team their child needs Find their child's niche Fit the needs of their child's career with the needs of the whole family

Throughout his lengthy career as both an actor and a director, Clint Eastwood has appeared in virtually every major film genre and, at this point in his career, has emerged as one of America's most popular, recognizable, and respected filmmakers. He also remains a controversial figure in the political landscape, often characterized as the most prominent conservative voice in mostly liberal Hollywood. At Eastwood's late age, his critical success as actor and director, his combative willingness to confront serious cultural issues in his films, and his undeniable talent behind the camera all call for a new and comprehensive study that considers and contextualizes his multiple roles, both on and off screen. Tough Ain't Enough offers readers a series of original essays by prominent cinema scholars that explore the actor-director's extensive career. The result is a far-reaching and nuanced portrait of one of America's most prolific and thoughtful filmmakers.

This book is a collection of "open scenes" for actors. The scenes contain little to no stage directions and no indications regarding specific emotions. The actor learns to say "I don't know" to many details of the scene. This is on purpose. In this way the actor must trust both the text and him- or herself, his or her partner, and the moment.

The way some introductory acting books are written it seems that a literal leg break is your best option. In EThe Young Actor's HandbookE Jeremy Kruse an actor writer producer and director who teaches method acting acting for camera improvisation and sketch comedy at The Lee Strasberg Theatre and Film Institute in New York mends this mangled genre distilling invaluable lessons and years of experience down to a lean mean intuitive hundred page primer.THRather than bludgeoning the uninitiated with dense paragraphs vague concepts and opaque examples EThe Young Actor's HandbookE ignites the beginning actor's creative soul with inspirational acting exercises acting theory writing exercises and insight into what it means to be an actor. This concise and pragmatic manual will guide and inform the young actor beginning actor novice acting teacher or anyone who wants to understand acting through a broad and diverse survey of essential knowledge. The teachings of Richard Boleslavsky Stella Adler Sanford Meisner Uta Hagen Michael Shurtleff Lee Strasberg and Constantin Stanislavsky are eloquently and accessible rendered as are basics of script analysis camera technique the audition mindset agent acquisition and the actor's life.THWhether you're a curious novice veteran acting teacher or even an interested observer EThe Young Actor's HandbookE will enhance your understanding of this vast and rewarding craft.

An inspiring, practical guide to working with young people on their voices, by a highly experienced teacher, actor and director. Teaching Voice is for all youth-theatre leaders, workshop facilitators, teachers or lecturers who want to help their students to develop their voices - either as a component in theatre training, while rehearsing a play, or for the benefit of their personal development. It offers a step-by-step course of workshops and themed sessions, along with a series of exercises and vocal warm-ups - from the tried-and-tested to the truly innovative. Included are: Full plans for two ninety-minute core sessions, laying the essential foundations of voice work: breath, diction, resonance and relaxation Seven themed workshops exploring individual aspects including projection, rhythm, the power of language, emphasis and Shakespeare Micro sessions that can be used within the structure of any session, or when time is short Further sessions to help incorporate voice work into rehearsals for a school or youth-theatre production Also included is a personal exercise plan to help you develop your own skills and confidence as a voice teacher, whatever your level of experience. Teaching Voice is an invaluable resource for anyone involved in vocal training for young people, whether you're looking for a structured programme of workshops, or simply for some fresh ideas to inspire your students.