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Actioning - and How to Do It is the indispensable companion to a
vital component in every actor's toolkit. Actioning is one of the
most widely used rehearsal techniques for actors. It helps bring
clarity to every moment or thought in the text, energising
rehearsals and bringing performances to life. Actioning will enable
you to discover and unlock newfound energy, range, variety and
clarity of body and voice, by: Interrogating the text and making
initial action verb choices Playing your chosen actions, both
verbally and physically Maintaining an imaginative and emotional
connection with each moment Signposting each thought to your scene
partner From the publishers of the internationally successful
Actions: The Actors' Thesaurus, this is the first in-depth
exploration of Actioning for student actors, those who train them,
and professionals working in the industry, whether they're brand
new to the technique or have been practising it for years. This
step-by-step guide draws on concepts from Stanislavsky, using
sample scenes from classic plays such as The Seagull and The
Importance of Being Earnest, as well as contemporary pieces, and is
filled with exercises to demonstrate the technique at work.
Emoting is not acting. Reproducing is not acting. Reacting is
acting. With this powerful idea, Nick Moseley takes long-held views
of actor training and opens them up to a productive new way of
thinking about performance. The goal of "Acting and Reacting" is to
stimulate thinking and reflection in both acting students and
teachers. For too long, argues Nick Moseley, actor training has
worked within superimposed concepts: on the one hand, the long
tradition of Stanislavski, which has been countered more recently
by the strongly anti-Stanislavskian views of David Mamet. Between
the two, Moseley writes, is a creative way of thinking about acting
that avoids extremes. Training is at the heart of acting, but
training must fit the actor, not the other way round.
Working with such concepts as emotional openness, trust and
acceptance, setting boundaries, and artistic freedom, "Acting and
Reacting "explores in depth techniques and exercises in
transactional improvisation and other tools for expanding the
actor's skill set. With chapters on such important topics as
inhabiting the space, learning to trust the body, and
defamiliarization, and with ample techniques and suggestions,
Acting and Reacting is a valuable tool for both actors and those
who train them.
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.
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.
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