An inspiring new approach to acting from a respected drama teacher - concise, succinct and full of practical exercises Nick Moseley is fed up with the way acting is taught in this country: 'In a nation which regards itself as the centre of world theatre, it is disappointing how many actors seem unable to do the job.' He blames the teachers and their underlying philosophy, which tells students: 'This is the training and you must fit yourself to it rather than it to you.' As Head of Acting at a major drama school, he has developed a system that is based on the individual's need to find truth in everything they do, to be 'in the moment' and to react instinctively to the other people on stage. In this book, he takes the best of Stanislavski, David Mamet and Sanford Meisner to fuel his own intensely practical approach. Starting with the technique of Transactional Improvisation, he covers such topics as: The World of the Play Inhabiting the Space Learning to Trust Your Body and Approaches to Text.

Thousands of young people set their sights on becoming professional actors each year, hoping to get a foot in the door with a solid resume built in high school, college, and local theatre company productions. But competition for parts is fierce, and no list of credits is complete without competency in the classical works of Shakespeare. Will Power guides both professional actors and aspirants through a lively 21-day rehearsal process leading up to the day of an actual audition or performance. Actors need never again be confused about where to begin or how to follow through when developing a Shakespearean role. Clear stepping stones have been laid out before them-by Shakespeare himself. Even seasoned actors, familiar with verse, are fascinated when they learn about the acting clues and stage directions embedded in the original First Folio text of Shakespeare's work, in the form of particular punctuation, capitalized letters, and spelling. Putting actors on their feet in dynamic and fun rehearsals, this practical guide helps them develop the 7 Cs of acting: commitment, concentration, conditioning, control, confidence, courage, and clarity while also demystifying how to perform these these magnificently crafted plays.

The best-selling guide to acting Shakespeare in a new smaller and lighter handbook size. Shakespeare tells the actor when to go fast and when to go slow; when to pause, when to come in on cue and when to accent a word. His text is full of such clues. He tells the actor when but never tells him why or how. That is up to the actor. Much like bringing a musical score to life, Peter Hall guides us to 'speak the speech'. An essential text for classical training at drama school and an invaluable reference book for actors and directors working on Shakespeare productions. Peter Hall makes watching or reading Shakespeare a richer experience, for audiences as well as actors.

The Art of Speech presents a dynamic path of practice leading to an experience of the Word as a living, healing and creative power. Helping to deliver Western intellectual speech from what Artaud described as 'shrivelled throats' and 'monstrous talking abstractions', Langman brings to life the spiritual realities out of which a true Art of Speech arises. Inspired by Rudolf Steiner and pioneered initially in the German language by Marie Steiner, this artform is illuminated here through the genius of the English language. Langman builds a bridge between mainstream research into the intrinsic nature of Speech, and the levels of spiritual cognition that led to Rudolf Steiner's insights. Speech and language can no longer be reduced to an arbitrary collection of abstract symbols, she asserts. This book will inspire those working with these disciplines as practitioners (both artistic and therapeutic) as well as those who wish to understand their significance in human evolution, both past and future. Following her first book The Art of Acting, this volume completes a foundation of understanding for an exploration - in the conclusion of Langman's trilogy - of an integrated art of speech and acting. Grounded in the spiritual reality of the human being, Langman presents a systematic methodology with which to explore Rudolf Steiner's Speech and Drama Course.

"Seventy-five percent of what we do at rehearsal does not enter the performance." - Constantin Stanislavski
Susan Letzler Cole's firsthand account of the rehearsal sessions of acclaimed directors and actors offers a view of what is often hidden from the public eye: what actors and directors do when they prepare a dramatic text for performance.
Directors in Rehearsal is based on hundreds of hours observing and recording the directorial work process. The author has closely observed prominent directors working with texts ranging from Shakespeare and Chekhov to the Wooster Group's recent experiments. The result of her extensive research is a rare behind-the scenes look at 10 theatre directors rehearsing actual productions - Broadway and off-Broadway, political and experimental, text-centered and company created.

These three volumes represent the best Shakespeare criticism of the last fifty years. 140 articles have been included, with introductions by Stanley Wells, Terence Hawkes and Peter Holland under three main headings. The first volume covers Shakespeare's life and times, the texts of his plays and their staging in the period; the second consists of literary criticism applied to Shakespeare since World War II and the third includes performance-centered articles on staging and acting. The essays are reprinted from the Shakespeare Survey yearbook, selected and ordered by Catherine Alexander.

In his beloved classic, "Acting: The First Six Lessons, " master acting teacher Richard Boleslavsky presents his acting theory and technique in a lively and accessible narrative form. Widely considered a must-have for beginning as well as established actors, Boleslavsky's work has long helped actors better understand the craft of acting and what it takes to grow as an artist. This enhanced edition includes additional exercises from Samuel Seldon's "First Steps in Acting, " which provide further opportunity to practice the techniques discussed in "Acting: The First Six Lessons."

Richard Boleslavsky's knowledge of the theater was based on an impressive depth and breadth of experience. A member of the Moscow Art Theater and director of its First Studio, he worked in Russia, Germany, and America as an actor, director and teacher. He was a leading Hollywood director in addition to producing plays and musical comedies on Broadway.

Harold Guskin is an Acting Doctor whose clients include David Suchet, Glenn Close, James Gandolfini, Bridget Fonda and dozens more. In HOW TO STOP ACTING he reveals the insights and techniques that have worked wonders for beginners as well as stars. Instead of yet another 'method', Guskin offers a strategy based on a radically simple and refreshing idea: that the actor's work is not to 'create a character' but rather to be continually, personally responsive to the text, wherever his impulse takes him, from the first read-through to the final performance. From this credo derives an entirely new perspective on auditioning and the challenge of developing a role and keeping it fresh, even over hundreds of performances. Drawing on examples from his clients' work and his own, Guskin presents acting as a constantly evolving exploration rather than as a progression toward a fixed goal. He also offers sound and original advice on adapting to the particular demands of television and film, playing difficult emotional scenes, tackling Shakespearean and other great roles." The Great Guskin" - John Lahr, The New Yorker "Reading Harold Guskin's book HOW TO STOP ACTING was like someone slowly removing handcuffs that have been on for a very long time. A method of working was given to me at drama school and with a few variations, here and there, has served me well for thirty-five years. More recently, however, I wanted to be free of 'a way' of working and Harold's approach to acting was the much-needed key to the freedom that I wanted. I was influenced by Stanislavsky and Method acting, often feeeling guilty if I failed to use them in the studying of my script and in the development of a character! Applying Harold's HOW TO STOP ACTING has allowed me to work much more freely and instinctively and therefore more truthfully and being truthful has always been, for me, the ultimate goal. Thank you Harold!" David Suchet

How can teachers incorporate drama into the curriculum?
What drama activities are especially successful?
How do teachers know when students are learning in, through and about drama?
Teachers who are new to drama, or those wishing to refresh their knowledge and ideas, should find practical answers and guidance in this text. The book introduces the work of Cecily O'Neill to demonstrate the entry points to drama lessons, the pre-texts, and how educators need to introduce lessons with challenging material. He then uses the work of David Booth to highlight one aspect of drama - storydrama - and how it can be used as an effective learning medium across the curriculum.

eBook available with sample pages: 0203209176

This guide for actors and directors develops a valid method for training performers to act from their core--whether they are cold reading, auditioning, or performing for film or television. This book teaches actors how to achieve and respond to believable and honest emotions before the camera, and it maintains that the key to a successful performance lies in how the actors relate to one another and to the circumstances. Exercises, including script examples, throughout the book give readers an easy resource for practicing the principles outlined.
The Art of Film Acting applies a classic stage acting method (Stanislavsky) to the more intimate medium of performing before a camera, teaching readers to experience an emotion rather than to indicate it.
*Applies a proven method to screen acting
*Includes exercises and practice material
*Helps actors train themselves to relate and respond

Auditioning skills are vital to the sucess of every performer, whether professional or amateur. This practical book explains how to win your dream role and advises on the auditioning process. With dedicated chapters for aspiring drama students and amateurs, it gives advice on how to impress a director, as well as warning of common pitfalls to avoid.

How do you actually set up a theatre game? And how do you actually play it? There are many books on the subject that describe theatre games, some even show illustrations. But the only way to really understand how a theatre game works is to see it in action. In a workshop setting, Adrea Gibbs directs students of all ages in a series of creative games for learning acting skills. Skills include: Imagination, Observation, Emotional Expressiveness, Listening, Teamwork, Trust, Improvisation, Scene Structure and Development, Focus, Confidence, and more. Over fifteen games and variations are demonstrated including: Name Game, Animal Farm, A Simple Piece of Fabric, Emotion Tag, Mime Alley, Improv Starters, The Bench, Concentration, The Orchestra, This Is A ...and more. This is an excellent resource for learning basic acting skills.

Everyone has heard of Method acting . . . but what about Modern acting? This book makes the simple but radical proposal that we acknowledge the Modern acting principles that continue to guide actors' work in the twenty-first century. Developments in modern drama and new stagecraft led Modern acting strategies to coalesce by the 1930s - and Hollywood's new role as America's primary performing arts provider ensured these techniques circulated widely as the migration of Broadway talent and the demands of sound cinema created a rich exchange of ideas among actors. Decades after Strasberg's death in 1982, he and his Method are still famous, while accounts of American acting tend to overlook the contributions of Modern acting teachers such as Josephine Dillon, Charles Jehlinger, and Sophie Rosenstein. Baron's examination of acting manuals, workshop notes, and oral histories illustrates the shared vision of Modern acting that connects these little-known teachers to the landmark work of Stanislavsky. It reveals that Stella Adler, long associated with the Method, is best understood as a Modern acting teacher and that Modern acting, not Method, might be seen as central to American performing arts if the Actors' Lab in Hollywood (1941-1950) had survived the Cold War.

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.

No other book for actors focuses so succinctly on the business of self-management. Whether an actor has an agent or manager or is building toward assembling that team, "Self-Management for Actors" will provide a roadmap for surviving--and thriving--in the entertainment industry. There is nothing magic or even a little mystical about the business side of the business. There is, however, a cloak of protection around some industry information. The good news is, "the edge" that actors are seeking is in your hands already Knowing your type, researching the target buyers of that primary type, staying on the radar in organic and meaningful ways, producing your own content to showcase what you do effortlessly, and learning how to network like a ninja is all within your control Sure, there's work involved, but once you come at it from a place of owning your "bullseye," it doesn't feel like work. It feels like living your dreams These self-management principles are simple, accessible, and do-able No silly "actor busy work" here; SMFA is about balancing your creative fire with the organizational skills that will allow you to navigate this business without "leading from need," as so many actors tend to do. Peppered with real-world examples from working actors and behind-the-desk advice from industry pros, "Self-Management for Actors" has quickly become the most well-worn book on every actor's bookshelf. Author Bonnie Gillespie has taught the SMFA principles all over the world, helping actors navigate tier-jumps from the very beginnings of their creative careers on up through crafting that first acceptance speech With a pocket companion guide and interactive support, this book is an actor's best friend. It's Hollywood grad school... in book form

'The Feldenkrais Method is unique... I haven't found any other movement study that opens up such a rich and continuing area of enquiry' John Wright, from his Foreword Spontaneity, sensitivity, simplicity and flexibility in any situation are just some of the qualities that the Feldenkrais Method has inspired in performers around the world. It uses movement to enable you to feel, adapt and respond in new ways - not just in limited, habitual patterns - thereby increasing your physical, emotional and mental potential. Written by an experienced actor, theatre-maker and Feldenkrais practitioner, Feldenkrais for Actors leads you through a range of topics where using the Method can help, such as: Presence and Posture The Role of Tension Emotion, Character and Creativity Voice and Breath Injury and Anxiety Also included are dozens of exercises and lessons so that you can experience how the Method will help you in practice. Feldenkrais for Actors is the result of thirty years of study and experience of the Method, and the benefits it can bring. It is invaluable for actors at any stage of their career, as well as for singers, dancers, musicians, martial artists, athletes and more.

Analyzing the relationship between dramatic action and the controversial art of acting, William Worthen demonstrates that what it means to act, to be an actor, and to communicate through acting embodies both an ethics of acting and a poetics of drama. Originally published in 1984. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

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.

In 1984 Antony Sher, hailed as "the most exciting actor of his generation" by the Observer, made his debut - on homemade crutches - as the infamous Richard III in the Royal Shakespeare Company production of the play. He would go on to win the Laurence Olivier and Evening Standard Awards for best actor. In his own words and sketches, he chronicles his personal and professional journey to this award-winning performance, from the moment he was offered the role to opening night, in the critically acclaimed book Year of the King, now available in this special 20th anniversary edition. From his brainstorm to use crutches to bring the king's deformity to life, to his research for the role, which included watching interviews with psychopaths, reading about mass murderers, and speaking with doctors and physically challenged individuals, to his visit to his homeland of South Africa, to his experiences in working with the Royal Shakespeare Company, the reader is given a front-row seat to Sher's physical and mental preparation - or rather transformation - for his landmark performance as "the bottled spider."

Stanislavsky in Focus brilliantly examines the history and actual premises of Stanislavsky’s 'System', separating myth from fact with forensic skill.

The first edition of this now classic study showed conclusively how the 'System' was gradually transformed into the Method, popularised in the 1950s by Lee Strasberg and the Actor’s Studio. It looked at the gap between the original Russian texts and what most English-speaking practitioners still imagine to be Stanislavsky’s ideas.

This thoroughly revised new edition also delves even deeper into:

the mythical depiction of Stanislavsky as a tyrannical director and teacher

yoga, the mind-body-spirit continuum and its role in the ‘System’

how Stanislavsky used subtexts to hide many of his ideas from Soviet censors.

The text has been updated to address all of the relevant scholarship, particularly in Russia, since the first edition was published. It also features an expanded glossary on the System's terminology and its historical exercises, as well as more on the political context of Stanislavsky's work, its links with cognitive science, and the System's relation to contemporary developments in actor-training. It will be a vital part of every practitioner's and historian's library.

Table of Contents



Preface: Stanislavsky Enters the Twenty-First Century Part 1: Transmission From Moscow to New York. New York Adopts Stanislavsky. Part 2: Translation The Classroom Circuit. The Publication Maze. Part 3: Transformation Stanislavsky’s Lost Term. Emotion and the Human Spirit of the Role. Action and the Human Body in the Role. Conclusion: A Legacy for the Future. Appendix I : Reading Between the Lines. Appendix II: Stanislavsky and Modern Dance. The System’s Terminology: A Selected Glossary

Starting with Mr. Morris' contention that "ninety-five percent of our talent comes from the unconscious, " this book addresses that hidden reservoir of feelings and experiences. Through a study of the unconscious, the actor is led toward "the state at which the actor crosses the line between consciousness and the unconscious to reach and feed from this bottomless well of creativity."