The core goal of Directing Screen Performances is to teach aspiring directors how to prepare and work with actors. Through a practical exploration of the major approaches to contemporary screen acting, you will learn how to formulate your own effective modes of communication to craft compelling performances. Directing performances for the screen starts well before the actor is cast and finishes well after the last slate is shot. In this book you will learn how to analyze a script, brief the casting director, rehearse the actors, decide on the visual treatment that enriches their performances, direct effectively on set and finesse the character in the edit. The director's process is clearly defined and augmented with illustrations, photographs and graphics, and each chapter concludes with practical exercises to consolidate the new knowledge.

Performance and Spanish film is the first book to provide a detailed study of screen acting in Spanish film. With fifteen original essays by leading scholars of Spanish film, the book casts light on the manifold meanings, methods and influences of Spanish screen performance, from the silent era to the present day. In doing so, the book provides bold new readings of the work of significant Spanish actors and filmmakers, from Javier Bardem, Penelope Cruz and Alfredo Landa, to Pedro Almodovar, Carlos Saura and Alejandro Amenabar. The fine-grained study of acting in each chapter also provides a means of exploring broader questions surrounding Spanish film practices, culture and society. Performance and Spanish film will be essential reading for both students and scholars of Spanish film alike, as well as to those more broadly interested in the history of screen acting. 'For enthusiasts of Spanish cinema and anyone bewitched by screen acting, this is a dream book. The editors bring together some of the most exciting and imaginative experts on Spanish Cinema writing in English today, as well as presenting a substantial and brilliant introduction to the topic. Each chapter has its own compelling revelations, whether by way of fine-grained analysis or wide new conceptual framings, whether on single named actors, particular films, modes of training, or successive new ways of making films.' Chris Perriam, Professor of Hispanic Studies, the University of Manchester -- .

Two of the biggest musical-theatre stars working today answer questions submitted by the public on a wide range of theatrical topics. A message from Louise and Mark... This is the book for anyone who's seen a show and thought: 'That could be me...' That's what we used to think growing up, dreaming of working in musical theatre. Now, after years of hard work, we've been lucky enough to star in some amazing shows, including Wicked, The Book of Mormon, Ghost: The Musical, Evita and Cats. We've picked up lots of tips from other performers, and have developed our own strategies and solutions too. In this book, using this knowledge and our experiences, we want to draw back the curtain and shine a spotlight onto how you can follow in our footsteps. What makes our book really different (and useful) is that we asked our fans worldwide to submit questions - and thank you to the hundreds of you who did. Dozens of these questions are featured here, covering every aspect of the industry: 'What is it like training at drama school?' 'How can I improve my vocal range?' 'How do I prepare for an audition?' 'How should I find and select an agent?' 'How do I deal with rejection?' 'How can I progress from the ensemble to a leading role?' This is a tough and competitive business, but passion, determination, a clued-up approach - and this book - will help see you through. Read it to discover the secrets you need to know, and we hope that one day soon, up on stage, it will be you.

Drawing on his lifetime career in front of the camera (and sometimes behind it), Denis Lawson offers a wonderfully accessible introduction to acting for film and TV. For the young actor hoping to break into the industry - whether in a drama series, soap or sitcom - this book is the ultimate insider's guide. In The Actor and the Camera, Denis Lawson takes us on a guided tour of the film or TV set from day one. We meet the various members of the crew, from the director of photography to the 1st, 2nd and 3rd ADs, and learn what each of them does - and how to get the most from them in your work as an actor. Then comes the actual business of shooting the scenes, beginning with readthroughs and rehearsals (if there are any), on to hitting your mark and getting your eye-line right, finishing with the actor's involvement in post-production. Throughout, Lawson takes the actor's point of view, offering encouragement and enlightenment, as well as being refreshingly candid about some of the more inane procedures. Above all, he offers a magnificent array of tips and inside knowledge for coping with what can be a daunting experience for a hopeful young actor. 'Denis is a great actor and he's always been my inspiration, since I was a child... He's the only person really in the world who I discuss acting with if I feel that I'm stuck. I love watching him still.' Ewan McGregor

Dudley Knight is one of the most respected voice and speech teachers in North America and highly regarded internationally. Janet Madelle Feindel - Associate Professor of Voice and Alexander, Carnegie Mellon University."

Speaking with Skill" marks a fundamental change in the pedagogy of speech training for actors and speakers. It presents a skills-based approach to speech training and offers a wider range of techniques and a more integrated approach to speech actions and phonetic transcription than are found in other speech texts for theatre. "

Speaking with Skill" reintegrates speech training with the allied fields of linguistics and voice science and represents the first serious reexamination of the archaic standards and pedagogy that have dominated speech training for actors and other professional speakers in America. The method employed in this book is already and increasingly being used by instructors on major actor training programs in the United States, Canada, Australia, Ireland and the UK.

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.

Norma Jeane Baker of Troy is a meditation on the destabilizing and destructive power of beauty, drawing together Helen of Troy and Marilyn Monroe, twin avatars of female fascination separated by millennia but united in mythopoeic force. Norma Jeane Baker was staged in the spring of 2019 at The Shed's Griffin Theater in New York, starring actor Ben Whishaw and soprano Renee Fleming and directed by Katie Mitchell.

One of the country's top voice-over talents shares his secrets of success in an insider's guide to the industry. Actors, broadcasters, and anyone who has longed to earn a living by speaking into a microphone will cherish this insightful and often hilarious glimpse at the business. Coverage includes: Identifying natural talent Training a voice to make it commercially viable Gaining experience in smaller markets Making a demo CD Auditioning effectively Locating and signing with an agent Joining the appropriate unions Negotiating contracts Self-promoting to maximize exposure Reflecting the quantum change that has occurred in the way voice-overs are recorded and cast in recent years, the updated Second Edition describes the advantages and disadvantages of auditioning and recording from home studios for clients around the world. This indispensable guide also addresses finding work in venues outside film and television, such as games, automated telephone systems, and websites. Aspiring and established voice-over actors will savor the behind-the-scenes details that show what actually happens during a voice-over recording session. Through it all, the author pairs performance tips with an expanded personal account of the crazed clients, practical jokes, and coincidences encountered on the long journey to success. Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.

From well-known auteur of the American theatre scene, Anne Bogart, And Then, You Act is a fascinating and accessible book about directing theatre, acting and the collaborative creative process.

Writing clearly and passionately, Bogart speaks to a wide audience, from undergraduates to practitioners, and makes an invaluable contribution to the field tackling themes such as:

intentionality

inspiration

why theatre matters.

Following on from her successful book A Director Prepares, which has become a key text for teaching directing classes, And Then, You Act is an essential practitioner and student resource.

Table of Contents

Introduction 1. Context 2. Articulation 3. Intention 4. Attention 5. Magnetism 6. Attitude 7. Content 8. Time

Building on the metahistorical exploration of drama that was the subject of Tongues of Flame, Dawn Langman explores the practical pathways through which the art of acting can evolve beyond the 'body and soul' paradigm still broadly accepted in contemporary culture. Through the integration of Rudolf Steiner's research in the arts of speech and eurythmy, and together with Michael Chekhov's acting techniques, Langman raises the spiritual dimension of the human being from that vague sensing which many actors intuit - but which has, however, little bearing on their practice - into a precise methodology. In this second volume in her series on 'The Actor of the Future', she offers performance artists a clear pathway ahead, enabling them to develop their work out of spiritual insight and consciousness. 'Dawn Langman's research into character creation invites the future into the present: suggesting the intriguing connection between the evolving universe, human consciousness and the mysteries at work in relationships and destiny.' - Penelope Snowdon-Lait, Co-director, Spirit of the Word training, New Zealand

Directed not only toward actors, dancers, and other performing artists who draw upon improvisation as part of their craft, this Zen-infused memoir of a life lived creatively will pique the interest of anyone in search of liberation from self-limiting concepts. What does it mean to live in a body? What does it mean to improvise? Do we wonder whether we're capable of improvising--to make up things as we go, step into the unknown, take a risk that changes our notion of ourselves and the world?
Author Ruth Zaporah has been a professional physical theater performer, writer, director, and teacher for forty years. Early on she realized that with a shift of perception, every moment of an improvisation holds both the familiar and the utterly new. With the same shift, so does every moment of life; every moment holds both the known and the unknown. And, as Zaporah says, "The body leads the way in this book. In each chapter the world is experienced by it and of it. It is the body that adds richness, wildness, and grace. The body invokes images and feelings. It is the body that imagines."
" Improvisation on the Edge" recounts events from Zaporah's life such as improvisational shows in the war zones of Sarajevo and Kosovo; apprenticing with a Huichol medicine woman from Chiapas, Mexico; understanding the concept of "practice" while on a beach; a bus ride in Cuba; a car ride in Estonia; the intricacies of onstage collaborations. Interspersed are chapters about awareness, listening, adapting, resiliency, time, space, silence, simplicity--all within the context of everyday life in the body. In several other chapters, Ruth writes from the logical (and nonlinear) voice of the improviser as she is on stage, within the immediate embodied process. A fascinating glimpse into the mind of an artist and true master of improvisation, this book will appeal to performers, teachers, and anyone who has ever needed to "wing it" with confidence and grace.
Table of Contents
1. Something That Needs Listening To 2. Mirror Mirror 3. On My Wall 4. Tutu Solitude 5. A Mind in Three Episodes 6. A Splish Splash Orchestra 7. A Take on Talk 8. Bobby's River 9. Roar 10. Meet Yourself Babe 11. Nuts and Bolts 12. Out of Chaos 13. Changing Course 14. The Flying Shaman 15. You Could Say Death 16. Ain't It The Truth 17. The Raging Boomerang 18. See This Feel That 19. Stalking War 20. Your Mother Just Died Christina, Leave the Backdoor Open 21. The Illusive Genture 22. A Pack of Lies 23. Again Gun and Boys 24. A Ride in Estonia 25. Art and Heart 26. Floating to the Surface 27. Stuffed With Junk 28. A Chair in Cuba 29. Any Where Practice 30 Teacher Says 31. Older and Under

A step-by-step introduction to the key features of the Meisner Technique, including a full set of practical exercises. The Meisner Technique is at the forefront of actor training today: with its radical simplicity it has the power to reconnect actors with their bodies and emotions. Developed by the teacher and actor Sanford Meisner, the technique places emphasis on truthful interaction between actors. The aim is for the actor 'to live truthfully under imaginary circumstances' - to remain truly 'in the moment'. In Meisner in Practice, Nick Moseley offers actors a step-by-step introduction to the salient features of the technique, and puts these to the test through a succession of increasingly challenging practical exercises. He also addresses certain pitfalls and problems that he has encountered over many years of teaching Meisner in drama schools. This book will be of immense value to students, teachers and practitioners in exploring a technique that is becoming increasingly recognised as a core element of actor training.

What should an actor be thinking on stage? This overlooked, important question is the crux of this new book that combines psychological theory, practical exercises, and a wide-reaching examination of inner monologue in various forms including film, musical theatre, and comedy. The inner monologue is that stream of consciousness or inner voice that constantly echoes in your head. This revolutionary new book tames and harnesses that voice to be used as a powerful tool in acting. Written in an accessible tone, the book assists actors, directors and educators in their quest for deeper more thoughtful acting and is a perfect supplement to traditional actor training.

Arden Performance Editions are ideal for anyone engaging with a Shakespeare play in performance. With clear facing-page notes giving definitions of words, easily accessible information about key textual variants, lineation, metrical ambiguities and pronunciation, each edition has been developed to open the play's possibilities and meanings to actors and students. Each edition offers: -Facing-page notes -Short, clear definitions of words -Easily accessible information about key textual variants -Notes on pronunciation of difficult names and unfamiliar words -An easy-to-read layout -Space to write notes -A short introduction to the play

The core goal of Directing Screen Performances is to teach aspiring directors how to prepare and work with actors. Through a practical exploration of the major approaches to contemporary screen acting, you will learn how to formulate your own effective modes of communication to craft compelling performances. Directing performances for the screen starts well before the actor is cast and finishes well after the last slate is shot. In this book you will learn how to analyze a script, brief the casting director, rehearse the actors, decide on the visual treatment that enriches their performances, direct effectively on set and finesse the character in the edit. The director's process is clearly defined and augmented with illustrations, photographs and graphics, and each chapter concludes with practical exercises to consolidate the new knowledge.

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.

Beginning with exercises designed to break long-held habits and allow an emotional rather than intellectual relationship to Elizabethan language, Kristin Linklater analyses Shakespeare's strategies for creating character, story and meaning through figures of speech, iambic pentameter, rhyme and the alternation of verse and prose.

In the heat of renaissance Italy two houses are at war. One son and one daughter from the opposing families break this bitter conflict by falling in love. Yet, in this whirlwind of enmity, Romeo and Juliet's passion agitates rather than unites the clashing houses, causing a trail of destruction. Locked in a burning embrace, the two young lovers are tragically doomed to live or die together. 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-Woodall and leading Shakespearean actor, Simon Russell Beale.

Konstantin Stanislavsky, the Russian director and actor and co-founder, in 1898, of the Moscow Art Theatre, was the originator of the most influential system of acting in the history of western theatre. Many of Stanislavsky's concepts are widespread in popular thought on acting; this 2008 book offers a evaluation of the basis of his ideas, discussing whether the system has survived because Stanislavsky made discoveries about acting that are and always have been scientifically verifiable, or whether his methods work on a practical basis despite an outdated theory. Drawing on information that has become available in recent years in Russia, the book examines how the development of Stanislavsky's system was influenced by scientific discoveries in his lifetime, and compares Stanislavsky's methods with those of Evgeny Vakhtangov, Michael Chekhov and Vsevolod Meyerhold. A full understanding of these ideas is crucial for anyone interested in acting and actor-training today.

Stanislavski was the first to outline a systematic approach for using our experience, imagination and observation to create truthful acting. 150 years after his birth, his approach is more widely embraced and taught throughout the world - but is still often rejected, misunderstood and misapplied.In "Acting Stanislavski," John Gillett offers a clear, accessible and comprehensive account of the Stanislavski approach, from the actor's training to final performance, exploring: - ease and focus- the nature of action, interaction and objectives- the imaginary reality, senses and feeling- active analysis of text - physical and vocal expression of character - the actor in the context of training and the industry.Drawing on Stanislavski's major books, in both English translations, and on records of his directing process and final studio classes, "Acting Stanislavski" demystifies terms and concepts. It is for actors from an actor's point of view, and offers many practical exercises and examples as an integrated part of each subject."Acting Stanislavski "also creates an up-to-date overview of the Stanislavski approach, connecting his legacy with the work of his successors, from Michael Chekhov to Meisner, Adler and Strasberg.A new, extended and fully updated edition of "Acting on Impulse: Reclaiming the Stanislavski Approach" (Methuen Drama, 2007), "Acting Stanislavski" now includes new exercises and biographies, a further chapter on The Character, and an expanded glossary along with many other additions to the previous chapters. It is an essential practical and educational resource for any acting student, professional or teacher.

Intercultural Acting and Performer Training is the first collection of essays from a diverse, international group of authors and practitioners focusing on intercultural acting and voice practices worldwide. This unique book invites performers and teachers of acting and performance to explore, describe, and interrogate the complexities of intercultural acting and actor/performer training taking place in our twenty-first century, globalized world. As global contexts become multi-, inter- and intra-cultural, assumptions about what acting "is" and what actor/performer training should be continue to be shaped by conventional modes, models, techniques and structures. This book examines how our understanding of interculturalism changes when we shift our focus from the obvious and highly visible aspects of production to the micro-level of training grounds, studios, and rehearsal rooms, where new forms of hybrid performance are emerging. Ideal for students, scholars and practitioners, Intercultural Acting and Performer Training offers a series of accessible and highly readable essays which reflect on acting and training processes through the lens offered by "new" forms of intercultural thought and practice.