Description

Book Synopsis

The Great Guskin (John Lahr, The New Yorker) shares the approach he uses to help actors land roles, develop them, and keep them alive

Harold Guskin is an acting doctor whose clients include Kevin Kline, Glenn Close, James Gandolfini, Bridget Fonda, and dozens more. In How to Stop Acting, Guskin 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 first read-through to 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 exploratio

How to Stop Acting

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    A Paperback / softback by Harold Guskin, Kevin Kline

    £15.30

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    RRP £17.00 – you save £1.70 (10%)

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      Book details

      Publisher Farrar, Straus and Giroux
      Published 25 June 2003
      ISBN-13 9780571199990
      978-0571199990
      ISBN-10 0571199992
      Also in:
      Acting techniques

      Description

      Book Synopsis

      The Great Guskin (John Lahr, The New Yorker) shares the approach he uses to help actors land roles, develop them, and keep them alive

      Harold Guskin is an acting doctor whose clients include Kevin Kline, Glenn Close, James Gandolfini, Bridget Fonda, and dozens more. In How to Stop Acting, Guskin 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 first read-through to 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 exploratio

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