With almost three hundred performance-tested acting games, this is the largest collection published to date. They were complied from numerous workshops and study sessions. Includes a wide variety of proven activities for learning acting and theatre industry skills. The book is divided into thirty sections including: Audition, Concentration & Focus, Voice, Ensemble, Action & Reaction, Improvisation, Knowing Your Objective, Performance, Thinking Outside the Box, Spatial Awareness, Non-Verbal Communication, Making Choices, Releasing Inhibitions, The Physical Actor and many more. This is an adaptable workbook designed to connect the learning of acting skills with professional auditions and the theatre Industry.

This collection of seventy-five acting exercises is designed to prepare actors and acting students for a professional career. The exercises were created during workshop sessions conducted by the authors with participants of the Paul G. Gleason Theatre in Hollywood. Over three hundred hours of recorded sessions were edited to pick the best exercises for developing acting skills. The book is divided into fifteen sections: Acting Is Not a Business, but It Can Be Business-Like; The Audience; Technology and Information for the Actor Fix Yourself, Then Use Yourself; Sound and Vocal Levels; The Storyteller; A Magnetic Personality; Auditioning; Imagination; The Physical Actor; A State of Being; Eureka; Creating a World; Mirror Neurons; and Intimacy and Confrontation. Also includes insights from many professionals in the acting industry.

Reality Driven is a compendium of fascinating real life based monologues. This book fits right into the publics hunger for reality-based programming. It is because of the actors' demand for new, original, and exciting material that this book has been written. Each monologue is accompanied by a unique and accurate character description. Every monologue is written out twice, once with grammar and once without. Because most people do not speak in grammatically correct sentences, these monologues give the actor the opportunity to create each piece in their own manner without interference. Each individual monologue contains suggestions, to the actor, yet allows the freedom for individual direction. Female characters can be read by men, and vise versa. Books always say you need the author's permission to change a word, so I'm giving you my permission now. Some of these monologues are not pretty, they're in your face and non-apologetic, but then so is life.

A student actor or professional performer will use this book again and again for self-discovery exercises designed to enhance acting skills. It is a "doing" book which challenges the actor with every exercise. The book is divided into twenty-one sections: 1. Creative State, 2. Imagination, 3. Observation, 4. Balance and Neutrality, 5. Concentration and Focus, 6. Nonverbal Communication, 7. Voice, 8. Sensory Awareness, 9. Body Awareness, 10. Physical Attention, 11. Unlimited Possibilities, 12. Act and React, 13. Understanding Your Objective, 14. Think Outside the Box, 15. Characterization, 16. Improvisation, 17. Prop Exploration, 18. Retention and Understanding, 19. Research, 20. Auditions and Casting, 21. Performance. A superb text that is both functional and inspirational.