Acting techniques Books

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.

Read more less

Book SynopsisBabies have no problem in vocalising - they cry, loud and long. But as we learn how to speak language, a highly intellectual activity, we increasingly depend on speech and body language to express what we wish to communicate. This is fine for ordinary conversation but there are times for most of us when we need to be able to use our voices to present ourselves in a wider context. Most people are vocally better equipped than they know. Usually some unconscious habit gets in the way. The Voice Book shows you simply and practically what is going wrong - and how to put it right. Whether you are a professional or amateur actor, classical or popular singer, politician, public speaker, or need to present for business, church or college, The Voice Book will help you to discover how to use your voice freely, powerfully and with pleasure.

Read more less

Book SynopsisA new title from the 'Anatomy of an Actor' series.

Read more less

Book SynopsisAnxiety about how we speak prevents many of us from expressing ourselves well. In her classic handbook, Cicely Berry, Voice Director of the Royal Shakespeare Company and world-famous voice teacher, tackles the reasons for this anxiety and explains her practical exercises for relaxation and breathing, clarity of diction and vocal flexibility - everything that you need to achieve good speech.

Read more less

Book Synopsis

Read more less

Book SynopsisAn Actor's Research: Investigating Choices for Practice and Performance presents an accessible and highly practical guide to the research approaches required of the actor. It aims to establish the precision and rigour of the actor's craft that is intrinsic to a compelling acting performance, explore a range of research activities surrounding and emerging from practical work in the studio, and enable the actor to evolve a multifaceted skillset in researching for performance.The chapters focus on different research areas such as the self, character, relationships, circumstance, and context, providing accessible and practical guidance to developing a personal research practice. Each aspect is explained and engaged with as practice, rather than study offering helpful hints and advising against common pitfalls ultimately enabling the actor to locate the necessary knowledge to shape and inform their performance in both text-based and devised scenarios. Additionally, as tTable of Contents1. The Actor's Research Mindset – Creative Critical Thinking 2. Self Evaluation as Research – Starting With the Self 3. Interrogating the Text – Close-Reading the Play 4. Investigating for Character – Shifting From Self 5. Character Into Relationship – Investigating Interaction 6. Character Into World – Exploring Given Circumstances 7. The World of the Production – Contexts of Creative Choices 8. Repurposing Actor's Research – Different Applications

Read more less

Book SynopsisThis new collection of essays and interviews assembles research on teaching methods, choreographic processes, and archival material that challenges systemic exclusions and provides practitioners with accessible steps to creating more equitable teaching environments, curricula, classes, and artistic settings.Antiracism in Ballet Teaching gives readers a wealth of options for addressing and dismantling racialized biases in ballet teaching, as well as in approaches to leadership and choreography. Chapters are organized into three sections - Identities, Pedagogies, and Futurities - that illuminate evolving approaches to choreographing and teaching ballet, shine light on artists, teachers, and dancers who are lesser known/less visible in a racialized canon, and amplify the importance of holistic practices that integrate ballet history with technique and choreography. Chapter authors include award-winning studio owners, as well as acclaimed choreographers, educators, and sTable of ContentsPart 1: Identities1. Teaching for Tomorrow Gabrielle Salvatto 2. Perspective––Dionne Figgins3. Perspective–––––Lourdes Lopez 4. Native American dancers beyond settler colonial confines Kate Mattingly5. Reflections on Quare Dance Alyah Baker Part 2: Pedagogies 6. Classical Perspectives: Performance, Pedagogy, and (Changing) CulturesAnjali Austin7. Dear Ballet Teachers, Let’s Talk About Race Ilana Goldman and Paige Cunningham8. Making space – inclusive and equitable teaching practices for ballet in higher education Alana Isiguen9. Dismantling anti-Blackness Maurya Kerr 10. ReCentering the Studio: Ballet Leadership and Learning Through Intersectional and Antiracist Approaches Renée K. Nicholson and Lisa DeFrank-Cole 11. Credibility and Expertise: Black Women Teaching Classical Ballet Monica Stephenson12. Adjusting pedagogies for developing artists: age-appropriate classes for classical ballet Misa Oga13. Ballet as Artistic, Scientific, and Existential Inquiry: Incorporating Ballet’s Broader History in a Syllabus and in the Studio Jehbreal Muhammad Jackson14. Dive In Keesha Beckford) Part 3: Futurities15. A willingness to shed Sidra Bell 16. Honoring the Legacy of Antiracist Ballet Teaching & Leadership in Black and Brown Dance Organizations Iyun Ashani Harrison17. Ballet’s Ever-Present Presence Thomas F. DeFrantz 18. Twelve Steps to Ballet’s Cultural Recovery Theresa Ruth Howard 19. Creating New Spaces: Today’s Black Choreographers Brandye Lee 20. Ballet’s Futurities––Insights from Choreographers, Scholars, and Educators

Read more less

Book SynopsisSecrets of Screen Acting, Fourth Edition, is a step-by-step guide to the elements of successful screen acting.When it was first published in 1993, Secrets of Screen Acting broke new ground in explaining how acting for the camera is different from acting on stage. Reaction time is altered, physical timing and placement are reconceived, and the proportions of the digital frame itself become the measure of all things, so the director must conceptualize each image in terms of this new rectangle and actors must ''fit'' into the frame. Based on a revolutionary non-Method approach to acting, this book shows what actually works: how an actor, an announcer, or anyone working in front of the cameras can maximise the effectiveness of their performances on screen. This fourth edition is completely updated to cover new techniques, film references, and insights, including: Updated information on vocal work outside acting, such as audiobooks and voice-overs Table of Contents1. Introduction 2. Screen versus Stage 3. The Frame 4. The Camera 5. Sound and Vocal Levels 6. Reactions and Business 7. Screen Acting 8. Casting 9. Auditions and Interviews 10. Rehearsals and technicals 11. The Shoot and 12. Post-Production 13. Presenting 14. Career Thoughts and Epilogue

Read more less

Book SynopsisVocal Traditions: Training in the Performing Arts explores the 18 most influential voice training techniques and methodologies of the past 100 years. This extensive international collection highlights historically important voice teachers, contemporary leaders in the field, and rising schools of thought. Each vocal tradition showcases its instructional perspective, offering backgrounds on the founder(s), key concepts, example exercises, and further resources. The textâs systematic approach allows a unique pedagogical evaluation of the vast voice training field, which not only includes university and conservatory training but also private session and workshop coaching as well.Covering a global range of voice training systems, this book will be of interest to those studying voice, singing, speech, and accents, as well as researchers from the fields of communication, music education, and performance. This book was originally published as a series in the Voice and Speec

Read more less

Book SynopsisThis comprehensive text traces a cultural history of acting practice in Aotearoa/New Zealand, whose Indigenous MÄori practitioners have made a significant impact on acting processes, principles and values in this postcolonial nation.Each chapter outlines not only historical aspects of acting in Aotearoa but also the way in which the phenomenon of acting has been modified by contingent local conditions. Interwoven into each chapter is a consideration of cultural, political and historical forces that have influenced the art form of acting in Aotearoa. Chapters include vivid personal accounts from the contributors, all of whom are also professional artists as well as scholarly experts in their fields. Interweaving the chapters are interviews with key practitioners and actors, which provide eloquent, first-hand accounts of current innovative actor training practice.Representing a wide range of approaches to acting and actor training for stage and screen, this book will be of use to scholars, students and theatre practitioners alike.

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

a huge range and FREE tracked UK delivery on ALL orders.

Read more less

Book Synopsis

Read more less

a huge range and FREE tracked UK delivery on ALL orders.

Read more less

a huge range and FREE tracked UK delivery on ALL orders.

Read more less

Book SynopsisFor 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 and leading Shakespearean actor, Simon Russell Beale.Trade ReviewThese editions are likely to help not only actors and drama students but also all amateur Shakespeareans including schools and colleges which stage the plays … What genius to have Simon Russell Beale as a series editor along with two Shakespeare Institute academics, Michael Dobson and Abigail Rokison-Woodall. * Ink Pellet *Table of ContentsIntroduction Twelfth Night Longer Notes

Read more less

Book SynopsisArden 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 playTrade ReviewWe’ve been working from the Arden Performance Edition on our latest production of The Tempest. Its clarity, layout and robustness make it perfect for actors and creatives to work from. Eminently playable, clear and practical, it’s the ideal rehearsal resource. * Sean Holmes, Shakespeare’s Globe *Table of ContentsIntroduction The Tempest Longer Notes

Read more less

Book SynopsisHave you been working as an actor, but want to refine your craft and take your performance to the next level? Or do you want to transition from stage to screen acting and would like to better understand the skills required? In this essential book for actors, Amanda Brennan offers a specifically psychophysical approach to screen acting, which provides an understanding of the body as the springboard for creative exploration. Starting with understanding your own instrument, you will learn how to prepare and tune the body for creative work. This is followed by strategies for the refinement of craft, including exercises on voice, movement, character development and rehearsal processes for screen. Experienced actors, directors, casting directors and industry professionals, such as Asa Butterfield (The Boy in the Striped Pajamas, Hugo, Sex Education), Noah Jupe (Honey Boy, The Quiet Place,The UnDoing), Janis Pugh (Chuck Chuck Baby) and James Kent (Te

Read more less

Book SynopsisWant to be the next Andy Serkis as Gollum in Lord of the Rings? Or Zoe Saldana in Avatar? How about Seth MacFarlane in Ted? Or do you want to star in video games such as Fortnite, Call of Duty or Halo? If so, this book will tell you everything you need to know about acting for motion capture. This is the first book to provide an invaluable resource for the education of the next generation of performers in this exciting medium. Over the last 10 years, a revolution has occurred in digital production - video games have overtaken the film and TV industries in terms of production and revenues. Many video games derive their digital animation from human performance by means of motion and performance capture. Actors such as Andy Serkis and Troy Baker have won critical acclaim for their digital performance in games and film. The book includes contributions from practitioners working across the globe, including: actor Kezia Burrows; software developer StéphaneTable of ContentsIntroduction: What is Motion Capture? A Brief History and Current Snapshot of an Evolving Technology. Data: Mocap as an Animated Medium The Body: Developing a Responsive, Free and Versatile Instrument Creating Characters: In Motion Capture, You Can Play Anybody… But Only if You Can Play Anybody! Imaginary Environments: Exploring the Limits of our Imagination and Professionalising Play Video Game Locomotion: Learning How to Perform Under the Extreme Limitations Required by Video Games, Within the Long Pipeline of Game Development Cinematics: Performing for Conventional Mediums and Acting in the Digital Realm Direction and the Lack of It The Industry: Finding your Place in a New Medium Appendix: What Will the Landscape be in 10 Years’ Time? Index

Read more less

Book SynopsisKing Lear has ruled for many years. As age overtakes him, he divides his kingdom amongst his children. Misjudging their loyalty, he soon finds himself stripped of all the trappings of state, wealth and power that had defined him. 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. Designed to be used and to be useful, each edition has plenty of space for personal annotations and the well-spaced text is easy to read and to navigate. Each edition offers: - Short, clear definitions of words - Information about key textual variants - Notes on pronunciation of difficult names and unfamiliar words - An easy to read layout with space to write yoTable of ContentsPreface Series Introduction A Note on Metre Introduction Suggested Further Reading Dramatis Personae KING LEAR

Read more less

Book SynopsisThis book provides actors, directors, teachers and students with a clear, practical guide to applying the work of influential theatre practitioner Jacques Lecoq to the process of rehearsing or workshopping the Shakespeare text. Written by theatre practitioner Ed Woodall, who trained with Lecoq himself, and Shakespeare academic Abigail Rokison-Woodall, this guide begins with warm-ups and ensemble-building, and moves through explorations of the story, the world of the play, the text, character emotion, thought and physicality and staging. Lecoq's method often relies on play', and play is often seen as trivial or inconsequential. This book argues that the more playful you are, the more playfully you investigate your speech or scene and the more physically motivated that playfulness is, the more vital and lifelike your acting of Shakespeare will be.

Read more less

a huge range and FREE tracked UK delivery on ALL orders.

Read more less

Book SynopsisThe Independent Actor presents a 21st-century training route achievable by self-curated learning for actors of all skill levels. This book rejects a purist approach to actor training, challenges traditional acting styles and disregards the embedded elitist notions of Western-training methods at the top of the hierarchy. Instead, it takes a contemporary, self-focused approach to learning and applying acting skills.Through doing so, the book is the first to validate a self-curated approach to actor training. Designed as a companion to practical experience and useful as a reference sourcebook, it takes the position that each individual actor must find their own process.Skills for theatre, screen and voice-recorded media are all embraced through practical tasks with signposts to essential reading and specific resources. Designed equally for the untrained actor as a companion and an aide-mémoire for the professionally trained actor, this book sheds light on

Read more less

Book SynopsisA brand-new collection of original audition pieces written by and for actors of colour, commissioned by Tamasha Theatre Company and edited by Titilola Dawudu, with a foreword by Noma Dumezweni. Hear Me Now is a unique collection of over eighty original audition monologues, expressly created by a range of award-winning writers brought together by producer Titilola Dawudu and Tamasha Theatre Company. They're ideal for actors of colour searching for speeches for auditions or training, writers, teachers, and theatre-makers who are passionate about improving diversity.The book provides varied, nuanced stories that expand beyond the range of existing material available from a cross-dressing Imam, to the first Black Prime Minister, the British Indian girl with dreams of becoming a country music star, or the young Black boy who loves baking as much as football Hear Me Now is an essential tool for actors of colour to showcase their range, and seeks to inspire, empower, and

Read more less

Book Synopsis

Read more less

Book SynopsisJames Calleri is one of the leading casting directors in the country and has given first jobs to some of New York and Hollywood's greatest actors including Elisabeth Moss, Adam Driver, Jessica Chastain, Sterling K. Brown, Kieran Culkin, Rosemarie DeWitt, Rainn Wilson and Jeremy Strong to name a few.Broadway casting credits include The Piano Lesson with Samuel L. Jackson and John David Washington, Topdog/ Underdog starring Yayha Abdul Mateen II and Corey Hawkins, Burn This starring Adam Driver and Keri Russell, Fool for Love starring Sam Rockwell and Nina Arianda, Hedwig and the Angry Inch starring Neil Patrick Harris,The Elephant Man starring Bradley Copper and Patricia Clarkson, Of Mice and Men starring James Franco and Chris O'Dowd, A Raisin in the Sun starring Audra McDonald and Sean Combs, and Venus in Fur starring Nina Arianda and Hugh Dancy. He also co-heads the MFA Acting program at Columbia Univer

Read more less

a huge range and FREE tracked UK delivery on ALL orders.

Read more less

Book Synopsis''Absolutely delicious . . . Janelle Brown is a surgeon of the complex relationships between women. I gobbled this up''Emma Straub, New York Times bestselling author of All Adults Here ''You won''t be able to put this novel down and you won''t want to''Laura Dave, no. 1 New York Times bestselling author of The Last Thing He Told Me ''One of those books you''ll devour''Chris Bohjalian, New York Times bestselling author of The Flight Attendant ''Janelle Brown has done it again. She has created a deliciously twisty page-turner you won''t be able to put down''Angie Kim, Edgar Award-winning author of Miracle Creek''You be me, and I''ll be you'' I whispered.As children, Sam and Elli were two halves of a perfect whole: gorgeous identical twins whose parents sometimes couldn''t even tell them apart. And once Hollywood discovered them, they became BTrade ReviewIn Janelle Brown's latest twisty, propulsive mystery, estranged twin sisters must confront shocking pieces of their past when one of them goes missing. From the first sentence, these women will have you in their grips. You won't be able to put this novel down, and you won't want to * Laura Dave, New York Times bestselling author of The Last Thing He Told Me *Janelle Brown is a terrific storyteller and stylist, and I'll Be You is one of those books you'll devour. It has a hot mess of a narrator - actually two hot messes, twins - both of whom you will root for, even as you are screaming at them to get a grip. Also? The novel has more twists and turns than the canyon roads that snake up and around Los Angeles * Chris Bohjalian, New York Times bestselling author of The Flight Attendant *Janelle Brown has done it again, creating a deliciously twisty page-turner you won't be able to put down. But I'll Be You is much more than a riveting thriller; it's a powerful and moving portrait of the fiercely tenacious bonds of familial love. With her trademark beautiful writing, depth of emotion, and sharp insights, Brown explores the dangers that lurk behind the seductive worlds of Hollywood child stardom and self-help culture. I loved this novel * Angie Kim, Edgar Award–winning author of Miracle Creek *Absolutely delicious . . . Janelle Brown is a surgeon of the complex relationships between women. I gobbled this up * Emma Straub, New York Times bestselling author of All Adults Here *Bestseller Brown infuses this twist-packed mystery with an intense story of creating one's identity, rife with deep family trauma and a low-key, creepy depiction of the dark side of twin intimacy. . . . Brown has upped her game with this one * Publishers Weekly (starred review) *A delicious work of intrigue and suspense . . . You won't want to stop reading until you find out what's happened * Kirkus Reviews *Janelle Brown stands out for her surprise-filled plots, insights into contemporary life and willingness to plumb the depths of family dysfunction . . . [she] consistently keeps readers guessing about her characters . . . I'll Be You becomes less a story about estrangement, guilt and regret and more of an addictive thriller that will keep readers burning through pages to find out what happened. When the narration shifts to Elli's point of view at a critical juncture in the novel, a twist genuinely surprises, as do Brown's insights into the very different psychological makeup, perspective and needs of the missing twin . . . a sneakily hypnotic thriller that turns on how Elli's naïve beliefs have been twisted and whether it's possible for an estranged family to reclaim their lives and futures * Los Angeles Times *Addictive . . . after you've started, hard to stop until it's all gone. Generously sprinkled with witty word choice and tasty twists, I'll Be You is a page-turner . . . the kind to read on the beach and pass the time snacking away on it . . . The choice to go along with whatever wild turn is around the corner is made easier because each one is so interesting and exciting * ABC News *Her twistiest and tightest work yet . . . a cleverly crafted and psychologically nuanced yin and yang, complete with crackling observations about celebrity, California cults, wellness culture, the fertility industry, and the undertow of addiction . . . the book calls to mind a tentpole of the genre, Gillian Flynn's 2012 hit Gone Girl * Time *Pretty Things author Janelle Brown returns with I'll Be You, a taut new thriller * Bustle, The Most Anticipated Books Of April 2022 *

Read more less

Book SynopsisThe Actor's Business Plan is a self-directed practical guide for actors graduating from formal training programs, as well as for those already in the business whose careers need to move ahead more successfully. Using the familiar language of acting training, the book offers a method for the achievement of dreams through a five-year life and career plan giving positive steps to develop a happy life as an actor and as a person. It assists performers to flourish using the same kind of business/career planning that is a necessary part of life for entrepreneurs and business people. This introduction to the acting industry provides essential knowledge not only for how the business actually works, but also describes what casting directors, agents, and managers do, demystifies the role of unions, discusses how much things cost, and offers advice on branding and marketing strategies. It differs from other such handbooks in that it addresses the everyday issues of life, money, and jobs thTrade ReviewSince actors spend much more time seeking and preparing for roles than actually acting, a career in acting should be viewed as a business. An actor, like any other professional, needs career plans, which pretty much sums up the main message of this work by veteran actor, director/producer, and agent Brody. Individual chapters cover the development of a five-year plan to achieve one's goals, getting an agent, and trying to land a job in a desired theater. Also covered are topics such as taking coaching classes, trying out for roles, handling life-plan obstacles (e.g., student debt), and dealing with business expenses (e.g., headshots, union fees, relocation expenses, or health insurance), along with tips on how to make contacts and write query letters or resumés. There is a section on what casting directors, agents, and managers actually do. The second half of the book focuses on the major acting centers of the country: Chicago, Minneapolis, New York, Los Angeles, Austin, Philadelphia, Atlanta, and the Washington, DC-Baltimore area. For each of these areas, the author provides a selection of agents, casting directors, photographers, drama schools, management, and theater companies with contact information. Summing Up: Recommended. All audiences. -- C. E. King, Iowa State University * CHOICE *The book promises to be an extremely practical and helpful guide for the young actor embarking on a professional acting career . . . I wish such a book existed when I was graduating -- Lucien Douglas, Head of Acting, University of Texas, Austina smart approach, and one that I think will make the information very accessible to young professionals in the industry * Melia Bensussen, Chair, Performing Arts Department, Emerson College, Boston *Since actors spend much more time seeking and preparing for roles than actually acting, a career in acting should be viewed as a business. An actor, like any other professional, needs career plans, which pretty much sums up the main message of this work by veteran actor, director/producer, and agent Brody. Individual chapters cover the development of a five-year plan to achieve one's goals, getting an agent, and trying to land a job in a desired theater. Also covered are topics such as taking coaching classes, trying out for roles, handling life-plan obstacles (e.g., student debt), and dealing with business expenses (e.g., headshots, union fees, relocation expenses, or health insurance), along with tips on how to make contacts and write query letters or resumés. There is a section on what casting directors, agents, and managers actually do. The second half of the book focuses on the major acting centers of the country: Chicago, Minneapolis, New York, Los Angeles, Austin, Philadelphia, Atlanta, and the Washington, DC-Baltimore area. For each of these areas, the author provides a selection of agents, casting directors, photographers, drama schools, management, and theater companies with contact information. Summing Up: Recommended. All audiences. * CHOICE *Table of ContentsPreface Introduction Chapter 1: Dreams for Your Life Play Chapter 2: Given Circumstances of Your Life Play: Obstacles Chapter 3: Your Life Play’s Five Year Plan: Objectives, Events, Tactics, Beats, and Tasks Chapter 4: Making Your Five Act Life Plan Happen Chapter 5: Handling the Obstacles in your Life Play Chapter 6: Access to the Fulfillment of your Life Plan Chapter 7: The Cast of your Life Play: Casting Directors, Agents, and Managers; Who They Are and What They Do Chapter 8: Building a Character: Type versus Brand Chapter 9: Doing Your Life’s Play, Action! Chapter 10: Your Life Play’s Experience: Resumes Chapter 11: The Album of Your Life Play: Pictures, Reels, and Websites Chapter 12: Learning Your Lines and Showing up for Your Life Play: Auditions Chapter 13: The Location of Your Life Play: Markets Appendix: Resources and Recommended Reading

Read more less

Book SynopsisIn 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 aTrade ReviewA series that reboots the way Shakespeare’s plays are printed … I quickly came to love having notes at the same eye level as the text to which they relate. It’s significantly quicker and easier to glance to the right to get a meaning, than to constantly look up and down between text and a dense pile of notes on the bottom of the page. With these books, even note-dependent reading can continue virtually uninterrupted, making them ideal for following a recorded performance or reading aloud … Although the books in this series were created for actors and directors, their sheer vivacity and user-friendliness makes them ideal for students and teachers too. They add just enough information to bring the language to life without getting bogged down in details. * MidLifeLit *These editions are likely to help not only actors and drama students but also all amateur Shakespeareans including schools and colleges which stage the plays … What genius to have Simon Russell Beale as a series editor along with two Shakespeare Institute academics, Michael Dobson and Abigail Rokison-Woodall. * Ink Pellet *The Arden Performance Editions so far represent a much-needed and important contribution. In such a crowded market, it is remarkable to see editions that feel so fresh, relevant, and necessary. * Studies in Theatre and Performance *Table of ContentsIntroduction; Romeo and Juliet; Appendices

Read more less

Book SynopsisACTING WITH ADLER, REVISED AND EXPANDED EDITION

Read more less

Book SynopsisElizabeth Taylor's electrifying performance in Who's Afraid of Virginia Woolf? The milkshake scene in There Will be Blood. Leonardo DiCaprio's turn as Arnie in What's Eating Gilbert Grape? What makes these performances so special? Eloquently written and engagingly laid out, Murray Pomerance answers the tough question as to what makes an exceptional, or virtuosic performance. Pomerance intensively explores virtuosic performance in film, ranging from classical works through to contemporary production, and gives serious consideration to structural problems of dramatization and production, actorial methods and tricks, and contingencies that befall performers giving stand-out moments.Looking at more than 40 aspects of the virtuosic act, and using an approach based in careful meditation and discursion, Virtuoso moves through such themes as showing off, effacement, self-consciousness, performative collapse, spontaneity, acting as dream, acting and femininity, virtuTrade ReviewIn 44 epigrammatic chapters, Pomerance examines the work of literally hundreds of screen actors, capturing the essence of their performances in isolated gestures, speech patterns, facial expressions, and other bits of cinematic legerdemain … The depth, range, and scope of this volume is stunning, as is the precision with which Pomerance unpacks these moments from more than a thousand films, shedding new light on the actor's craft. Summing Up: Highly recommended. * CHOICE *An interesting and compelling read throughout … the book is a joy to read from start to finish, whether one knows the performances being discussed or not, and makes a wonderful addition to the growing body of scholarly writings on performance and star studies. * Historical Journal of Film, Radio and Television *In this extraordinary volume, Murray Pomerance acts as something like a spirit guide to the mysteries of cinematic performance. The text conjures a pageant of gestures, voices, faces and moments that exemplify virtuosity, accompanied by critical reflection that is never less than compelling. Pomerance’s prose is itself virtuosic: lucid, penetrating, brilliant. It asks questions we didn’t know could be asked, and never resorts to easy answers. This makes the book essential reading, not just for scholars and students of film performance, but for anyone interested in the art and magic of the cinema. * Dr. Alex Clayton, Senior Lecturer in Film and Television, University of Bristol, UK *From detailed examinations of such singular talents like James Dean and Cary Grant, to the subtler, fleeting, performative moments by virtuosos as varied as John Barrymore and Kristen Stewart, Murray Pomerance offers a new way of approaching, as well as a language for addressing, the riddling qualities of great film acting. What magic the actors explored in this book do with gesture, expression and inflexion, Pomerance does here with incisive description, analysis, and an often delightful turn of phrase. * Dr. Daniel Varndell, Senior Lecturer in English Literature, University of Winchester, UK *Table of ContentsAcknowledgements Overture Chapter 1: A Brief History of the Virtuosic Moment Chapter 2: Showing Off Chapter 3: Effacement and Allure Chapter 4: Money Chapter 5: “I Am Acting” Chapter 6: “I Am On Show” Chapter 7: Charisma as Commodity Chapter 8: Outstanding Chapter 9: Virtuosity Superimposed Chapter 10: Spontaneity Chapter 11: In Dreams Awake Chapter 12: A Feminine Mystique Chapter 13: Tortures Chapter 14: Secret Virtuosity Chapter 15: (In)Credible Belief Chapter 16: Touched by the Camera Chapter 17: Improvise Chapter 18: Breathe Chapter 19: Director/Virtuoso Chapter 20: Heimlichkeit Chapter 21: Collapse Chapter 22: Bigger Than Life Chapter 23: The Spectacle of Things Falling Apart Chapter 24: Limping On Chapter 25: The Eternal Return Chapter 26: Borders Chapter 27: Facing Chapter 28: Louder Louder, Softer Softer Chapter 29: Virtuosity Classical Chapter 30: Near Misses Chapter 31: Discounts Chapter 32: Virtuosic Silence Chapter 33: Virtuosic Support Chapter 34: Control Chapter 35: Virtuosic Play-Within-Play Chapter 36: Upstairs Downstairs Chapter 37: Lost in the Stars Chapter 38: Virtuosity Pianissimo Virtuosity Forte Chapter 39: Virtuosity as Event Chapter 40: Indelibles Chapter 41: Virtuosity and “The Virtuoso” Chapter 42: Negative Virtuosity Chapter 43: Virtuosic Slippage Chapter 44: The End or “End” of Virtuosic Performance Coda: A Thought of Conclusion Bibliography Index

Read more less

Book SynopsisThe door to magic is closed, but it’s not locked. And now Joshua Jay, one of the world’s most accomplished magicians, not only opens that door but brings us inside to reveal the artistry and obsessiveness, esoteric history, and long-whispered-about traditions of a subject shrouded in mystery. And he goes one step further: Joshua Jay brings us right into the mind of a magician—how they develop their other worldly skills, conjure up illusions, and leave the rest of us slack jawed with delight time after time. Along the way, Jay reveals another kind of secret, one all readers will find meaningful even if they never aspire to perform sleight of hand: What does it take to follow your heart and achieve excellence? In 52 short, compulsively readable essays, Jay describes how he does it, whether it’s through the making of illusions, the psychology behind them, or the way technology influences the world of magic. He considers the aesthetics of performance, discusses contemporary masters, including David Copperfield, Penn & Teller, and David Blaine, and details how magicians hone their craft. And answers questions like: Can a magic trick be too good? How do you saw a person in half? Is there real magic in the universe? The answers, like so much in magic and life, depend on you.Trade Review"Joshua Jay is a superb, innovative conjurer with an unrelenting love of the art. This captivating book is proof of that passion." --David Copperfield "A loving, behind-the-scenes map of the world of magic, by someone who knows and lives the art. Swift, funny, honest, and alive with enthusiasm. And he has the good sense to quote me a lot." --Teller (of Penn & Teller) "Joshua Jay has proven to be an important voice in magic. How Magicians Think is a thoughtful, engaging look into the secretive world of magicians. This book will excite anybody with a curiosity of love for magic." --David Blaine "How Magicians Think is fascinating, beautiful, and can't-put-down shocking. It will inspire awe in its depiction of the secretive world of magicians and is a must-read for anyone passionate about pursuing excellence." --Uri Geller "In How Magicians Think, the great Joshua Jay reveals a magician's greatest secret--not a secret shuffle or how they kept a dove alive in their pants for four hours --but how they think. The answer? Differently, creatively, and beautifully. I mean, how can you not love someone who's devoted their life to making you feel wonder?" --Pete Holmes, comedian and author of Comedy Sex God "How Magicians Think is one of the most remarkable books I have ever read! Joshua Jay is a genius storyteller who has distilled a life's worth of insights into a single book, and the result is magical." --Steven Levitt, co-author of Freakonomics "A must-read for anyone who loves magic. Joshua Jay is not only a world class performer, but he is a thought-leader in magic. Whatever your passion, you'll find inspiration and motivation in these pages. I couldn't put it down." --Jon Dorenbos, NFL Superbowl champion and best-selling author

Read more less

Book Synopsis

Read more less

Book SynopsisThis clear, accessible guide to creating and putting on a solo show is packed with inspiring, practical advice for writers, actors, directors, and anyone who wants to know how solo shows are actually made. Written by two theatremakers with a wealth of experience in the field, it leads you through the whole process – from finding a subject you're passionate about, to developing your ideas and getting the script written, through to rewrites, rehearsals and getting your show on stage. It tackles key questions such as: What makes a 'good' solo show? How do I engage the audience? How should directors and writer-performers work together? And what's the best way of approaching a producer? There's also invaluable advice on looking after yourself, coping with anxieties, dealing with reviews, and taking your show to the Edinburgh Fringe. With practical exercises throughout to help you put everything into action, this book is an indispensable toolkit for making your solo show a reality. Lisa Carroll is a playwright, screenwriter and comedian, whose plays have been staged at Soho Theatre, the Arcola Theatre, and the Abbey Theatre, Dublin. Milly Thomas is an actor and writer whose plays have been staged at Theatre503, the Edinburgh Fringe, Soho Theatre, the West End's Trafalgar Studios and New York Theatre Workshop. Together, Lisa and Milly have taught regular solo-show workshops, including for training and creative organisation The Mono Box. The Compact Guides are pocket-sized introductions for actors and theatremakers, each tackling a key topic in a clear and comprehensive way. Written by industry professionals with extensive hands-on experience of their subject, they provide you with maximum information in minimum time.

Read more less

Book SynopsisTHE GOOD AUDITION GUIDES: Helping you select and perform the audition piece that is best suited to your performing skills Each Good Audition Guide contains a range of fresh monologues, all prefaced with a summary of the vital information you need to place the piece in context and to perform it to maximum effect in your own unique way. Each volume also carries a user-friendly introduction on the whole process of auditioning. Shakespeare Monologues for Men contains 50 monologues drawn from across the Shakespeare canon. Each speech is prefaced with an easy-to-use guide to Who is speaking, Where, When and To Whom, What has just happened in the play and What are the character's objectives. In fact, everything the actor needs to know before embarking on the audition! Shakespeare Monologues for Men is edited by director, teacher and academic Luke Dixon. 'Sound practical advice for anyone attending an audition' Teaching Drama Magazine on the Good Audition GuidesTrade Review"Sound practical advice for anyone attending an audition... a source of inspiration for teachers and students alike" Teaching Drama Magazine"

Read more less

Book SynopsisTHE GOOD AUDITION GUIDES: Helping you select and perform the audition piece that is best suited to your performing skills Each Good Audition Guide contains a range of fresh monologues, all prefaced with a summary of the vital information you need to place the piece in context and to perform it to maximum effect in your own unique way. Each volume also carries a user-friendly introduction on the whole process of auditioning. Shakespeare Monologues for Women contains 50 monologues drawn from across the Shakespeare canon. Each speech is prefaced with an easy-to-use guide to Who is speaking, Where, When and To Whom, What has just happened in the play and What are the character's objectives. In fact, everything the actor needs to know before embarking on the audition! Shakespeare Monologues for Women is edited by director, teacher and academic Luke Dixon. 'Sound practical advice for anyone attending an audition' Teaching Drama Magazine on the Good Audition GuidesTrade Review"Sound practical advice for anyone attending an audition... a source of inspiration for teachers and students alike" Teaching Drama Magazine"

Read more less

Book SynopsisA ‘fast-forward’ acting course covering all the essential techniques an actor needs to know and use – with a suite of exercises to put each technique into practice. John Abbott's The Acting Book offers various ways to analyse a text and to create character, using not only the established processes of Stanislavsky and Meisner, but also new ones developed by the author over many years of teaching drama students. It also sets out a wide range of rehearsal techniques and improvisations, and it brims over with inventive practical exercises designed to stimulate the actor’s imagination and build confidence. The book will be invaluable to student actors as an accompaniment to their training, to established actors who wish to refresh their technique, and to drama teachers at every level. ‘Abbott knows what he’s talking about and has a gift for expressing himself in straightforward, clutter-free language’ The Stage on Improvisation in RehearsalTrade Review'Anyone involved in actor training is likely to find this book a welcome breath of fresh air because its approach is so gloriously unpretentious. And yet it contains a wealth of Abbot’s enormous experience as actor, director and teacher' * The Stage *'A fantastic accompaniment for teachers of drama, actors at any level and directors seeking insight into the ways actors think' * Book News *'A fine source of ideas and information for drama teachers - a potted acting course, with plenty of practical exercises.' * Teaching Drama *

Read more less

Book SynopsisWhy does Shakespeare write in the way he does? And how can actors and directors get the most out of his incomparable plays? In Speaking the Speech, Giles Block – ‘Master of the Words’ at Shakespeare’s Globe – sets out to answer these two simple questions. The result is the most authoritative, most comprehensive book yet written on speaking Shakespeare’s words. Throughout the book, the author subjects Shakespeare’s language to rigorous examination, illuminating his extraordinary ability to bring his characters to life by a simple turn of phrase, a breath or even a pause. Block shows how we can only fully understand these characters, and the meaning of the plays, by speaking the words out loud. Drawing on characters from across all of Shakespeare’s plays – and looking in detail at Macbeth, The Winter’s Tale, Hamlet, The Merchant of Venice and Much Ado About Nothing – Block covers everything the actor needs to know, including: the essential distinctions between prose, rhymed verse and unrhymed verse, and the different strategies to be used when speaking them; the difference between ‘you’ and ‘thou’; Shakespeare’s use of silence; and the vital importance of paying attention to Shakespeare’s ‘original’ punctuation. Speaking the Speech is a book for actors and directors who want to improve their understanding of Shakespeare’s language in order to speak it better. It is also a fascinating read for anyone who wants to deepen their appreciation of Shakespeare’s language and the way it comes to life when spoken aloud. ‘We call Giles our ‘Text Guru’ at the Globe, partly in jest, and partly out of respect for the depth of his knowledge, the gentleness of his teaching, and the sudden illuminations he can throw across a play. If this book can afford even a small part of the pleasure and insight Giles can provide in person, then it will be a great asset.’ Dominic Dromgoole, Artistic Director, Shakespeare’s Globe ‘Giles deepened my love for Shakespeare and for the way we all speak. I trust you will have a similar experience reading his book.’ Mark Rylance, from his ForewordTrade Review'The remarkable clarity of this book is born of the author's deep knowledge and experience of Shakespeare's language... Whatever your background and experience of working with Shakespeare, you will find new and refreshing insights here' * National Drama - Drama magazine *'Any student embarking on training, or any actor who wants to know more about Shakespeare's words and how to speak them, will learn a lot from this book' * The Stage *'If you want to know how to do something well, find yourself the best expert in the field and get them to teach you. Giles Block is currently Master of the Words at Shakespeare's Globe Theatre, and has been since its opening in 1999. ... I will certainly be using [his book] the next time I direct Shakespeare.' * Teaching Drama Magazine *'A fascinating Virgilian tour through the circles of Shakespeare's language... This is a guide providing answers, in a craft demanding the rituals of mystery' * Times Literary Supplement *'Fresh and innovative... a useful and valuable addition to the field of Shakespeare scholarship' * ReviewsGate.com *'A tour de force from a theatrical insider... a handbook that Hamlet might have given to his players' * Ink Pellet magazine *

Read more less

Book Synopsis'This book gives some of the very best of Shakespeare’s twenty-first-century colleagues an opportunity to share insights that can only come from playing him' Nicholas Hytner, from his Foreword Twelve leading actors take us behind the scenes of landmark Shakespearean productions, each recreating in detail their memorable performance in a major role. Roger Allam on his Falstaff in both Henry IV plays at Shakespeare’s Globe Eileen Atkins on Viola in two productions of Twelfth Night seventeen years apart Simon Russell Beale on Cassius in Deborah Warner’s modern-dress Julius Caesar Chiwetel Ejiofor on his Donmar Warehouse Othello, directed by Michael Grandage Sara Kestelman on Hippolyta and Titania in Peter Brook’s iconic white-box Dream Ian McKellen on one of Shakespeare’s most demanding of roles: King Lear Michael Pennington on stepping in at the eleventh hour as Timon of Athens Alan Rickman on re-evaluating the melancholic Jaques in As You Like It Fiona Shaw on Shakespeare’s Shrew, Katherine, in Jonathan Miller’s production Patrick Stewart on his Las Vegas-set Shylock, a role he has played many times Harriet Walter on Imogen in Shakespeare’s late romance, Cymbeline, at the RSC Zoë Wanamaker on her National Theatre Beatrice, directed by Nicholas Hytner Each actor leads us through the choices they made in rehearsal, and how the character works in performance, shedding new light on some of the most challenging roles in the canon. The result is a series of individual masterclasses that will be invaluable for other actors and directors, as well as students of Shakespeare – and fascinating for audiences of the plays. Shakespeare On Stage: Volume 2 was shortlisted for the 2018 Theatre Book Prize. ‘Absorbing and original… Curry’s actors are often thinking and talking as that other professional performer, Shakespeare himself, might have done.’ TLS on Shakespeare On Stage: Vol. 1Trade Review'A remarkably rich collection... as well as the thoughtful step-by-step analyses of rehearsal and performance, the interviews abound in striking perceptions of the plays as a whole' * Shakespeare Survey *'[Gives the reader] that amazing, engrossing feeling of listening to someone who is an expert in their field… one of the other joys of this book is the reminder that it brings of how intellectual acting is. These actors talk about the roles with great knowledge and affection… give [it] to a student to read and be inspired' * Drama Magazine *'These thorough and penetrating interviews are greatly illuminating' * Word Matters - Journal of the Society of Teachers of Speech and Drama *'[This] is becoming a fascinating series... a good read for fans of the performers, Shakespeare or acting in general' * British Theatre Guide *

Read more less

Book SynopsisA practical investigation into story-theatre and the art of telling stories through theatre, by the renowned director who founded Shared Experience Theatre Company. In Then What Happens?, Mike Alfreds makes the case for putting story and storytelling back at the heart of theatre. He explores the whole process of adapting for the stage, and investigates the particular techniques - many of them highly sophisticated - that actors require when performing 'story-theatre'. The book includes over two hundred exercises, improvisations and workshops dealing with the practical aspects of story-theatre, such as building an ensemble, creating a physical vocabulary, and transforming written narrative into drama. It draws on examples ranging from traditional legends and folklore, through the works of Jane Austen, Charles Dickens and Evelyn Waugh, to contemporary fiction. Alfreds shows how each story demands its own particular set of dramatic choices, opening up endless possibilities for performance. Then What Happens? - like the author's tremendously successful first book, Different Every Night - will be invaluable to directors and actors, to dramatists working in the field of adaptation, to those devising and working from improvisation, and to any theatregoer who has been moved by the power of an unfolding story to ask: 'Then what happens?' ‘All theatre directors know that good narrative is the secret of good theatre, but few have as distinctive, rigorous and exceptional a method of exploring that secret as does Mike Alfreds. His system of working, and his thoughts on the making of theatre in our time, are as crucial and illuminating as those of Stanislavsky and Peter Brook have been to generations of theatre enthusiasts and practitioners.’ Michael CoveneyTrade Review'Both fascinating and instructive for the general reader as well as practitioners... will prove invaluable to directors, actors and even designers and choreographers... a must have' * British Theatre Guide *'Alfreds' substantial book provides a fascinating insight into [his approach], which has been adopted by many other directors and companies since the 1970s. ... This is an ideal read for anyone who is keen to put storytelling at the heart of performance' * Drama Resource *'Comprehensive, rigorous and practical... a heavyweight book from a heavyweight author' * Theatre in Wales *'Practical and thorough... a very useful book for playwrights and directors' * The Stage *

Read more less

Book Synopsis'A part we have played is like a person we once met, grew to know, became intimately enmeshed with and finally moved away from. Some of these characters remain friends, others are like ex–lovers with whom we no longer have anything in common. All of them bring something out in us that will never go back in the box.' In a varied and distinguished career, Harriet Walter has played almost all of Shakespeare's heroines, notably Ophelia, Helena, Portia, Viola, Imogen, Lady Macbeth, Beatrice and Cleopatra, mostly for the Royal Shakespeare Company. But where, she asks, does an actress go after playing Cleopatra's magnificent death? Why didn't Shakespeare write more – and more powerful – roles for mature women? For Walter, the solution was to ignore the dictates of centuries of tradition, and to begin playing the mature male characters. Her Brutus in an all–female Julius Caesar at the Donmar Warehouse was widely acclaimed, and was soon followed by Henry IV. What, she asks, can an actress bring to these roles – and is there any fundamental difference in the way they must be played? In Brutus and Other Heroines, Walter discusses each of these roles – both male and female – from the inside, explaining the particular choices she made in preparing and performing each character. Her extraordinarily perceptive and intimate accounts illuminate each play as a whole, offering a treasure trove of valuable insights for theatregoers, scholars and anyone interested in how the plays work on stage. Aspiring actors, too, will discover the many possibilities open to them in playing these magnificent roles. The book is an exploration of the Shakespearean canon through the eyes of a self-identified 'feminist actor' – but, above all, a remarkable account of an acting career unconstrained by tradition or expectations. It concludes with an affectionate rebuke to her beloved Will: 'I cannot imagine a world without you. I just wish you had put more women at the centre of your world/stage… I would love you to come back and do some rewrites.' 'A glorious reminder that genuine diversity on stage offers astonishing creative benefits… Harriet Walter is mesmerising in one play after another, bringing her classical training to bear as a conflicted Brutus, then a Henry IV who wears his crown heavily, and finally a Prospero who knows that the steel bars of prison are resistant to all magic… this is genuinely art to enchant' The Guardian on the Donmar Warehouse's Shakespeare Trilogy Trade Review'Intelligent, thoughtful… a strong combination of actor's guide to interpreting text and more general reflections on Shakespeare, but it's the book's element of female empowerment - whether through cross-casting or making judicious choices - which makes this such a potent read… an invaluable tool for actors, but more than that, this is a battle cry for us all to demand better' * Broadway World *'An entertaining, informative and interesting read for anyone involved with acting, language and performance, but above all Shakespeare' * Word Matters (Journal of the Society of Teachers of Speech & Drama) *'Illuminating… provides fascinating insights that come out of researching, rehearsing and performing the roles… will be of interest to scholars as well as actors of either gender playing those characters' * BritishTheatre.com *'Delightful... intelligent, entertaining and informative' * British Theatre Guide *'A quiet jewel of a book… perhaps only a great actress with a lot less narcissism than average could write such an intelligent, hard-nosed book about Shakespeare, and about gender… any actor who wants to master their art should read it and take notes' * The Australian *'Enlightening and entertaining… Harriet Walter has a real gift for an account which is part personal journey and part practical analysis of Shakespeare’s words and how they can be interpreted – by someone who really knows... if you want insights into playing Shakespeare’s roles for women in the widest sense then look no further than this penetrating, very readable book' * Ink Pellet *'One of those startling one-offs that seem to resist categorisation… [asks] lively questions, and Walter is restless and intelligent in pursuit of answers... this is a clever, energetic, principled mind at work' * The Oldie *'Walter understands Shakespeare’s language instinctively… drama students approaching these parts themselves will find it a helpful textual guide' * Spectator *'No book has given me a greater insight into the mind of an actor and I thoroughly enjoyed flicking through the pages to find out about the next character to sink her teeth and magnificent mind into' * Female Arts *'What Harriet Walter has to say about acting and the insight into the roles she has played will be of interest not only to actors but to anybody studying Shakespeare and searching for clues about the characters' * Mature Times *

Read more less

Book SynopsisAn engaging, upbeat guide for any student thinking of applying to drama school. If you're thinking of applying to drama school, The Excellent Audition Guide will give you everything you need to prepare well and perform your audition to the best of your ability. Experienced actor, director and drama teacher Andy Johnson leads you through every step of the application process: Researching drama schools Writing personal statements and CVs Choosing and working on your speeches and songs Brushing up technical and vocal skills And, of course: How to tackle the auditions themselves by being true to yourself and making fear your friend A reassuring, encouraging 'how to' book that demystifies an often scary-looking process, The Excellent Audition Guide is ideal not just for applicants themselves, but also for parents, teachers and careers advisors looking to help them fulfill their acting ambitions. 'Smart, dynamic and inspiring, this is an invaluable book for anyone thinking of trying for drama school' Michael Simkins 'There's only one book in the world I would read about getting into drama school and doing good auditions. It's this one.' Vanessa Kirby (Great Expectations, Labyrinth, Three Sisters, Jupiter Ascending) 'This book is accurate and beautifully concise. I wish Andy's written wisdom had been with me when I was applying to drama school.' Freddie Fox (Guildhall School of Music and Drama, The Judas Kiss, Hay Fever, The Mystery of Edwin Drood)Trade Review'A very thorough self-help guide... Johnson begins with clear strategies to help uncover meaning within the text, moving to more complex rehearsal techniques to help release the words and make them your own.... Terrific.' * Teaching Drama Magazine *'Brilliant... really practical... It's like being led through the process by a trusted and knowledgeable friend... a most useful book which anyone about to start on the application process should read' * The Stage *'no-nonsense and engaging... a great companion to take with you on your journey to a great career in acting' * Ink Pellet: The Arts Magazine for Teachers *'An excellent book. It's detailed and written in a direct and no-messing way... crammed full of good advice - much of which may be new to potential auditionees' * ReviewsGate.com *

Read more less

Book Synopsis'I wish I'd had this book when I was starting out as a young director... I cannot recommend it highly enough' Marianne Elliott, from her Foreword This dip-in, flick-through, quick-fire resource book in the bestselling Drama Games series offers dozens of ideas and exercises to energise and inspire a bold, creative rehearsal process for any play, of any period or genre. Aimed at directors of all levels, it covers every aspect of rehearsal, including: Warm-up exercises to prepare the body, voice and mind, and to create a strong ensemble Ideas for approaching the text, tackling the 'Story of the Play' A wealth of games for unlocking the 'World of the Play', including developing characters, finding a physical style, understanding genre and investigating themes Suggestions for exploring sound and music, whether for use in the production or simply to encourage a sense of fun in rehearsals This essential 'go-to' book will provide you with a host of original and illuminating games, perfect for the play you're rehearsing, be it Shakespeare or Greek tragedy, a Restoration comedy, physical theatre, Modern Naturalism – or even a brand new play. Marianne Elliott, one of the most innovative and exciting directors working anywhere in the world, describes it as a 'beautiful, and very clearly written book' which will become her 'constant companion in future'.Trade Review'Bursting with ideas and content… there are lovely ideas here; professional, student friendly, good for flicking through the pages and choosing at random, or a more carefully structured process… will create happier groups and happier rehearsals' * National Drama *'Great fun… a "must have" for directors' * Word Matters (Journal of the Society of Teachers of Speech & Drama) *'This book is great for making the rehearsal room as active as it is cerebral; it will become as indispensable as its predecessors… intelligent and well-focused games... not just a manual, it's a good read full of anecdotes and witty asides. From the start we know that we are in the hands of an expert practitioner' * Teaching Drama Magazine *'Should prove invaluable to creative directors, writers and actors wishing to develop an ensemble approach... Swale's ideas provide working methods and creative approaches which will help anyone involved in developing a production, from the budding director to those working with experienced actors in the professional sector' * DramaResource.com *

Read more less