Starting from the idea that the main hindrance to a great acting performance is self-consciousness on the part of the performer, My Character Wouldn’t do That examines the ways in which some of our traditional and contemporary approaches to acting put us into a ‘mind space’ that can encourage self-consciousness. Examining evidence from a range of contemporary cognitive sciences, the book approaches acting and actor training in an entirely different way. Based on the latest research into brain activity and human behaviour, the book covers areas that standard acting texts do (character, emotion, memory, imagination, making active choices) but reconceives each of these elements through the lens of that contemporary research. The book is the first to look closely at what contemporary research tells us about: · personality/character and how environment shapes us · how memory works and how actors can work with (rather than against) their memory in preparing for performance · why actors must use different kinds of brain states and imagination in the various stages of preparation, rehearsal, and performance · how actors can frame active choices in a way that refocuses the source of thought and action · why actors should distinguish the stages of preparation and the kinds of thinking / imagination that works at each stage

Starting from the idea that the main hindrance to a great acting performance is self-consciousness on the part of the performer, My Character Wouldn’t do That examines the ways in which some of our traditional and contemporary approaches to acting put us into a ‘mind space’ that can encourage self-consciousness. Examining evidence from a range of contemporary cognitive sciences, the book approaches acting and actor training in an entirely different way. Based on the latest research into brain activity and human behaviour, the book covers areas that standard acting texts do (character, emotion, memory, imagination, making active choices) but reconceives each of these elements through the lens of that contemporary research. The book is the first to look closely at what contemporary research tells us about: · personality/character and how environment shapes us · how memory works and how actors can work with (rather than against) their memory in preparing for performance · why actors must use different kinds of brain states and imagination in the various stages of preparation, rehearsal, and performance · how actors can frame active choices in a way that refocuses the source of thought and action · why actors should distinguish the stages of preparation and the kinds of thinking / imagination that works at each stage

This second edition of the highly successful Popular Singing serves as a practical guide to exploring the singing voice while helping to enhance vocal confidence in a range of popular styles. The book provides effective alternatives to traditional voice training methods, and demonstrates how these methods can be used to create a flexible and unique sound. This updated and thoroughly revised edition will feature a new chapter on training for popular singing, which incorporates recent movements in teaching the discipline across the globe, taking into account recent developments in the area. The book also features a new section on 'bridging' - ie. using all the technical elements outlined in the book to help the singer find their own particular expressive style to inspire more playfulness and creativity, both for the individual singer and for the teacher in practice and performance.

Mastering the Shakespeare Audition is a handbook for actors of all ages and experience, whether auditioning for a professional role or a place in drama school. Many actors have no idea where to start in preparing a Shakespeare audition speech. Yet many auditions - professional or drama school - require a well-delivered classical monologue. Mastering the Shakespeare Audition shows performers how to focus rehearsal time and spend it well. Starting with how to choose a piece that plays to each actor's particular strength, casting director Donna Soto-Morettini provides a series of timed exercises and rehearsal techniques that will allow any actor to feel confident and truly prepared for performance - in sessions totalling just 35 hours. Offering progressive and clearly marked exercises detailing the time necessary both to read and complete the work, Mastering the Shakespeare Audition also features extended exercises for those with more time to spare, allowing a deeper understanding of the ideas and skills involved.

Frustrating, nerve-wracking, job-winning or job-losing, flawed yet necessary - auditioning is a maddening business for everyone involved. The people behind the audition desk are looking for a killer audition (often under tremendous pressure), but most of the auditionees walk into the room feeling nervous, unprepared, and unable to control their own performance.
Although the idea of creating 'winning performance strategies' is common in business and sports studies, no one has ever really attempted to bring the psychology of creating a winning performance to a book on auditioning.
Drawing on some fascinating, cutting-edge research into how the brain copes and responds in high-stress situations, "Mastering the Audition" looks closely at the effects of fear, at our flawed ability to assess or really know ourselves, at what really drives us, and at what it really takes to master the audition experience.
Applicable to all areas of performing, including reality television, musicals, stage, film and commercials, this book helps you hone your performing skills and develop the mental toughness that can keep you going through the inevitable ups and downs of the audition process. Where other books advise you to 'be confident' and 'be prepared', "Mastering the Audition" tells you exactly HOW.

There have been many books published on acting, actor training, and practical theories for preparing for a role, but none of these books have ever looked philosophically at the language and the concepts that we use when we talk about acting. "The Philosophical Actor" is the first attempt to grapple with the fundamental questions of truth, art, and human nature unexamined in past treatments, from the first great essay by Diderot to the exhaustive system described by Stanislavski. With wide appeal to actors, directors, acting students, acting teachers and trainers, Donna Soto-Morettini draws from twenty-five years of experience as an acting teacher and director to introduce innovative ways of thinking about acting.