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Acting: Documents from the American Laboratory Theatre
by Richard Boleslavsky Rhonda BlairActing: The First Six Lessons was first published in 1933 and remains a key text for anyone studying acting today. These dramatic dialogues between teacher and idealistic student explore the field of acting according to one of the original teachers of Stanislavsky’s System in America. This new edition of an essential text is edited by Rhonda Blair and supplemented for the very first time with documents from the American Laboratory Theatre. These collect together a broad range of exciting unpublished material, drawn from Boleslavsky’s pivotal and unprecedented teachings on acting at the American Laboratory Theatre. Included are: "The Creative Theatre Lectures" by Richard Boleslavsky Boleslavsky’s "Lectures from the American Laboratory Theatre" "Acting with Maria Ouspenskaya," four short essays on the work of Ouspenskaya, Boleslavsky’s colleague and fellow actor trainer A new critical introduction and bibliography by the Editor.
Acting: Living the Life and Doing the Job (The Actor's Toolkit)
by Natalie BurtActing: Cut the Crap, Cue the Truth fills a gap in the drama school curriculum, tackling many areas which are unaddressed during training and discussing issues that are more often than not hushed up afterwards. Starting from the vital final stages of training, and on to life as a professional, Natalie Burt – a young, jobbing actress – moves systematically through the challenges that every actor faces; from making strategic career decisions, to the logistics of TV and film sets and voice over work, to more personal matters such as renting and flat-sharing, finance and well-being when out of work. Rejecting gimmicks and quick fixes, she encourages motivational thinking and entrepreneurialism using an informal, unapologetic and humorous tone whilst sharing information that is current, relevant and from the frontline.Or, as Natalie puts it, ‘a thorough, constructive and ball-achingly honest chat about the industry, written by someone who still has all their own teeth.’Contributors to the book include Spotlight, Equity, James Penford from Hatton McEwan Penford agency and Alice Purser from Andy Pryor Casting.Endorsements:‘What Natalie Burt has done here is remarkable. She has written a luminously honest, very funny, often very touching voyage of what it is actually like to be afflicted with the unquenchable desire to dedicate oneself to being a professional actor.’ Timothy Spall O.B.E(ese)‘A refreshing and entertaining take on the challenges facing actors and how best to surmount them.’ Ben Seale, Managing Partner, Spotlight‘Natalie’s book is like her acting: playful, irreverent, and accomplished. An invaluable resource.’ Laurie Sansom, Artistic Director, National Theatre of Scotland‘At last! The book all aspiring actors have been waiting for. A truthful, comprehensive, funny guide to life as a jobbing and sometimes not jobbing actor.’ Caroline Quentin‘The best book ever written.’ Natalie’s mum
Acting: The Basics (The Basics)
by Bella MerlinActing: The Basics 3rd Edition is a dynamic response to recent societal and entertainment industry changes, focusing on inclusion, diversity and equity, and the actor's trajectory from training to rehearsal to performance on stage and screen, with hands-on tools and global perspectives. The book offers vital ways of building a practical acting toolkit, through breath, body, voice, emotions, imagination and spirit. We begin with a socio-cultural look at actor as magician, storyteller, healer and social changer. Throughout, there are insights from Black, Indigenous, First Nations, South/East Asian, intercultural and feminist practitioners, together with methods focusing on disability and accessibility, intimacy directives, mindfulness and intersectionality. Key 'canonical' figures still feature (e.g., Stanislavsky, Meisner, Brecht and Suzuki) with re-visioned perspective. Scattered throughout are post-COVID insights, plus expanded sections on screen acting (including self-tapes) and Shakespeare. This book is useful for beginner or expert, as it's always helpful getting back to basics. Because the author is both an actor and an actor trainer, the tools are steeped in user-friendly application. At the same time, transferable skills (e.g., dynamic listening and empathy) are shown as relevant to everyone. With a glossary of terms and useful online suggestions (including blogs, videos and podcasts), this is ideal for anyone learn anew about the practice and history of acting, or to take their acting and teaching into new terrain.
Acting: The Basics (The Basics)
by Bella MerlinActing: The Basics 3rd Edition is a dynamic response to recent societal and entertainment industry changes, focusing on inclusion, diversity and equity, and the actor's trajectory from training to rehearsal to performance on stage and screen, with hands-on tools and global perspectives. The book offers vital ways of building a practical acting toolkit, through breath, body, voice, emotions, imagination and spirit. We begin with a socio-cultural look at actor as magician, storyteller, healer and social changer. Throughout, there are insights from Black, Indigenous, First Nations, South/East Asian, intercultural and feminist practitioners, together with methods focusing on disability and accessibility, intimacy directives, mindfulness and intersectionality. Key 'canonical' figures still feature (e.g., Stanislavsky, Meisner, Brecht and Suzuki) with re-visioned perspective. Scattered throughout are post-COVID insights, plus expanded sections on screen acting (including self-tapes) and Shakespeare. This book is useful for beginner or expert, as it's always helpful getting back to basics. Because the author is both an actor and an actor trainer, the tools are steeped in user-friendly application. At the same time, transferable skills (e.g., dynamic listening and empathy) are shown as relevant to everyone. With a glossary of terms and useful online suggestions (including blogs, videos and podcasts), this is ideal for anyone learn anew about the practice and history of acting, or to take their acting and teaching into new terrain.
Acting: An International Encyclopedia of Traditional Culture (Arts Of Living Ser.)
by Mary Beth OsnesA groundbreaking, cross-cultural reference work exploring the diversity of expression found in rituals, festivals, and performances, uncovering acting techniques and practices from around the world.Acting: An International Encyclopedia explores the amazing diversity of dramatic expression found in rituals, festivals, and live and filmed performances. Its hundreds of alphabetically arranged, fully referenced entries offer insights into famous players, writers, and directors, as well as notable stage and film productions from around the world and throughout the history of theater, cinema, and television.The book also includes a surprising array of additional topics, including important venues (from Greek amphitheaters to Broadway and Hollywood), acting schools (the Actor's Studio) and companies (the Royal Shakespeare), performance genres (from religious pageants to puppetry), technical terms of the actor's art, and much more. It is a unique resource for exploring the techniques performers use to captivate their audiences, and how those techniques have evolved to meet the demands of performing through Greek masks and layers of Kabuki makeup, in vast halls or tiny theaters, or for the unforgiving eye of the camera.
Acting: How to Avoid Mistakes and Achieve Success as a Working Actor
by Paul RussellIn ACTING: Make It Your Business, Second Edition, award-winning casting director Paul Russell puts the power to land jobs and thrive in any medium—stage, film, television, or the Internet—directly into the hands of the actor. This blunt and practical guide offers a wealth of advice on auditioning, marketing, and networking, combining traditional techniques with those best suited for the digital age. Well-known actors and powerful agents and managers make cameos throughout, offering newcomers and working professionals alike a clear-eyed, uncensored perspective on survival and advancement within the entertainment industry. This second edition has been updated and expanded to include the following: More stars of screen and stage sharing acting career strategies Digital audition techniques for screen and stage, including how best to self-tape New tools to master modern marketing, both digital and traditional with innovation Expanded actor resource listings Additional bicoastal talent agents and managers spilling secrets for obtaining representation, and tips for successful actor-to-representation partnerships New insights on audition techniques An excellent resource for career actors, beginning and amateur actors, as well as students in Acting I and II, Auditions, and Business of Acting courses, ACTING: Make It Your Business provides readers with invaluable tools to build a successful, long-lasting acting career.
Acting: How to Avoid Mistakes and Achieve Success as a Working Actor
by Paul RussellIn ACTING: Make It Your Business, Second Edition, award-winning casting director Paul Russell puts the power to land jobs and thrive in any medium—stage, film, television, or the Internet—directly into the hands of the actor. This blunt and practical guide offers a wealth of advice on auditioning, marketing, and networking, combining traditional techniques with those best suited for the digital age. Well-known actors and powerful agents and managers make cameos throughout, offering newcomers and working professionals alike a clear-eyed, uncensored perspective on survival and advancement within the entertainment industry. This second edition has been updated and expanded to include the following: More stars of screen and stage sharing acting career strategies Digital audition techniques for screen and stage, including how best to self-tape New tools to master modern marketing, both digital and traditional with innovation Expanded actor resource listings Additional bicoastal talent agents and managers spilling secrets for obtaining representation, and tips for successful actor-to-representation partnerships New insights on audition techniques An excellent resource for career actors, beginning and amateur actors, as well as students in Acting I and II, Auditions, and Business of Acting courses, ACTING: Make It Your Business provides readers with invaluable tools to build a successful, long-lasting acting career.
Act as a Feminist: Towards a Critical Acting Pedagogy
by Lisa PeckAct as a Feminist maps a female genealogy of UK actor training practices from 1970 to 2020 as an alternative to traditional male lineages. It re-orientates thinking about acting through its intersections with feminisms and positions it as a critical pedagogy, fit for purpose in the twenty-first century. The book draws attention to the pioneering contributions women have made to actor training, highlights the importance of recognising the political potential of acting, and problematises the inequities for a female majority inspired to work in an industry where they remain a minority. Part One opens up the epistemic scope, shaping a methodology to evaluate the critical potential of pedagogic practice. It argues that feminist approaches offer an alternative affirmative position for training, a via positiva and a way to re-make mimesis. In Part Two, the methodology is applied to the work of UK women practitioners through analysis of the pedagogic exchange in training grounds. Each chapter focuses on how the broad curriculum of acting intersects with gender as technique to produce a hidden curriculum, with case studies on Jane Boston and Nadine George (voice), Niamh Dowling and Vanessa Ewan (movement), Alison Hodge and Kristine Landon-Smith (acting), and Katie Mitchell and Emma Rice (directing). The book concludes with a feminist manifesto for change in acting. Written for students, actors, directors, teachers of acting, voice, and movement, and anyone with an interest in feminisms and critical pedagogies, Act as a Feminist offers new ways of thinking and approaches to practice.
Act as a Feminist: Towards a Critical Acting Pedagogy
by Lisa PeckAct as a Feminist maps a female genealogy of UK actor training practices from 1970 to 2020 as an alternative to traditional male lineages. It re-orientates thinking about acting through its intersections with feminisms and positions it as a critical pedagogy, fit for purpose in the twenty-first century. The book draws attention to the pioneering contributions women have made to actor training, highlights the importance of recognising the political potential of acting, and problematises the inequities for a female majority inspired to work in an industry where they remain a minority. Part One opens up the epistemic scope, shaping a methodology to evaluate the critical potential of pedagogic practice. It argues that feminist approaches offer an alternative affirmative position for training, a via positiva and a way to re-make mimesis. In Part Two, the methodology is applied to the work of UK women practitioners through analysis of the pedagogic exchange in training grounds. Each chapter focuses on how the broad curriculum of acting intersects with gender as technique to produce a hidden curriculum, with case studies on Jane Boston and Nadine George (voice), Niamh Dowling and Vanessa Ewan (movement), Alison Hodge and Kristine Landon-Smith (acting), and Katie Mitchell and Emma Rice (directing). The book concludes with a feminist manifesto for change in acting. Written for students, actors, directors, teachers of acting, voice, and movement, and anyone with an interest in feminisms and critical pedagogies, Act as a Feminist offers new ways of thinking and approaches to practice.
Across The Barricades (PDF)
by Joan Lingard David Ian NevilleKevin is Catholic. Sadie is Protestant. In Belfast they are supposed to be enemies - so what chance do they have when they fall in love?* New, innovative activities specifically tailored to support the KS3 Framework for Teaching English and help students to fulfil the Framework objectives. Activities include work on Speaking and Listening, close text analysis, and the structure of playscripts, and act as a springboard for personalwriting.
Acoustics of Multi-Use Performing Arts Centers
by Mark HoldenExplores the Science and Practice Of Acoustics for Arts Centers Employing the experiences of a world-renowned acoustician celebrated for the successful design of multi-use performing arts centers, Acoustics of Multi-Use Performing Arts Centers examines the complexities of this venue and discusses the challenges and solutions that arise in the conce
Acoustic Interculturalism: Listening to Performance (Studies in International Performance)
by Marcus Cheng TanAcoustic Interculturalism is a study of the soundscapes of intercultural performance through the examination of sound's performativity. Employing an interdisciplinary approach, the book examines an akoumenological reception of sound to postulate the need for an acoustic knowing – an awareness of how sound shapes the intercultural experience.
The Acid Test (Oberon Modern Plays)
by Anya ReissThis has been the worst day of my life. So can you please get drunk with me?Dana, Ruth and Jess down shots to console the heart-broken, to comfort the anxious and just pass the time. Kicked out from the family home Jess’s dad, Jim, invades the party with just as much recklessness as the girls. As the night passes and vodka bottles are emptied, Friday night in becomes high drama. An unruly new comedy asking if age equals maturity, due to open at the Royal Court in May 2011.
Achilles' Choice: Examples of Modern Tragedy (PDF)
by David LensonWhy, during the last two hundred years, when critical achievement in the field of tragedy has been outstanding, has there been little creative practice? David Lenson examines the work of various writers not ordinarily placed in the tragic tradition—among them, Kleist, Goethe, Melville, Yeats, and Faulkner—and suggests that the tradition of tragedy does continue in genres other than drama, that is, in the novel and even in lyric poetry.The notion of tragedy's migration from one genre to others indicates, however, rather sweeping modifications in the theory of tragedy. Achilles' Choice proposes a structural model for tragic criticism that synthesizes the almost scientific theories predominant since World War II with the irrationalist theories they replaced.Originally published in 1975.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
The Accused (Modern Plays)
by Jeffrey ArcherInnocent or guilty? You decide.Jeffrey Archer's play, The Accused, is a tense courtroom drama with a difference. The audience will act as the jury, as if they were in the Central Criminal Court at the Old Bailey. You will have to decide... Did Dr Sherwood murder his wife? Was Jennifer Mitchell his mistress? Which of his alibis should you believe.The choice will keep you on the edge of your seats, and at the end of the trial you will be invited to deliver your verdict of guilty or not guilty. Once you have made that decision the play will continue - with one of two different endings, depending on your verdict. Only then will you finally discover the truth.The Accused premiered at the Theatre Royal, Windsor, in September 2000.
The Accused (Modern Plays)
by Jeffrey ArcherInnocent or guilty? You decide.Jeffrey Archer's play, The Accused, is a tense courtroom drama with a difference. The audience will act as the jury, as if they were in the Central Criminal Court at the Old Bailey. You will have to decide... Did Dr Sherwood murder his wife? Was Jennifer Mitchell his mistress? Which of his alibis should you believe.The choice will keep you on the edge of your seats, and at the end of the trial you will be invited to deliver your verdict of guilty or not guilty. Once you have made that decision the play will continue - with one of two different endings, depending on your verdict. Only then will you finally discover the truth.The Accused premiered at the Theatre Royal, Windsor, in September 2000.
The Accrington Pals (Methuen Drama Modern Classics) (PDF)
by Peter WhelanThe Accrington Pals is a poignant and harrowing play set in the early years of the First World War, as the country's jingoistic optimism starts to wane and the true terror of warfare gradually becomes cle The play looks at both the terrifying experiences of the men at the front and the women who were left behind to face social changes, deprivation and the lies of propaganda. While often comic vignettes portray the everyday life of a town denuded of men, the men face the terror that is the Battle of the Somme. This compassionate play portrays the devastating effects of war on a typical Lancashire mill town and the suffering of everyday people. This Modern Classic edition includes a new preface by the author, plus a full introduction exploring the themes, social/historical context and characters. The edition also includes a chronology and classroom activities.
The Accommodated Animal: Cosmopolity in Shakespearean Locales
by Laurie ShannonShakespeare wrote of lions, shrews, horned toads, curs, mastiffs, and hellhounds. But the word “animal” itself only appears very rarely in his work, which was in keeping with sixteenth-century usage. As Laurie Shannon reveals in The Accommodated Animal, the modern human / animal divide first came strongly into play in the seventeenth century, with Descartes’s famous formulation that reason sets humans above other species: “I think, therefore I am.” Before that moment, animals could claim a firmer place alongside humans in a larger vision of belonging, or what she terms cosmopolity. With Shakespeare as her touchstone, Shannon explores the creaturely dispensation that existed until Descartes. She finds that early modern writers used classical natural history and readings of Genesis to credit animals with various kinds of stakeholdership, prerogative, and entitlement, employing the language of politics in a constitutional vision of cosmic membership. Using this political idiom to frame cross-species relations, Shannon argues, carried with it the notion that animals possess their own investments in the world, a point distinct from the question of whether animals have reason. It also enabled a sharp critique of the tyranny of humankind. By answering “the question of the animal” historically, The Accommodated Animal makes a brilliant contribution to cross-disciplinary debates engaging animal studies, political theory, intellectual history, and literary studies.
The Accommodated Animal: Cosmopolity in Shakespearean Locales
by Laurie ShannonShakespeare wrote of lions, shrews, horned toads, curs, mastiffs, and hellhounds. But the word “animal” itself only appears very rarely in his work, which was in keeping with sixteenth-century usage. As Laurie Shannon reveals in The Accommodated Animal, the modern human / animal divide first came strongly into play in the seventeenth century, with Descartes’s famous formulation that reason sets humans above other species: “I think, therefore I am.” Before that moment, animals could claim a firmer place alongside humans in a larger vision of belonging, or what she terms cosmopolity. With Shakespeare as her touchstone, Shannon explores the creaturely dispensation that existed until Descartes. She finds that early modern writers used classical natural history and readings of Genesis to credit animals with various kinds of stakeholdership, prerogative, and entitlement, employing the language of politics in a constitutional vision of cosmic membership. Using this political idiom to frame cross-species relations, Shannon argues, carried with it the notion that animals possess their own investments in the world, a point distinct from the question of whether animals have reason. It also enabled a sharp critique of the tyranny of humankind. By answering “the question of the animal” historically, The Accommodated Animal makes a brilliant contribution to cross-disciplinary debates engaging animal studies, political theory, intellectual history, and literary studies.
The Accommodated Animal: Cosmopolity in Shakespearean Locales
by Laurie ShannonShakespeare wrote of lions, shrews, horned toads, curs, mastiffs, and hellhounds. But the word “animal” itself only appears very rarely in his work, which was in keeping with sixteenth-century usage. As Laurie Shannon reveals in The Accommodated Animal, the modern human / animal divide first came strongly into play in the seventeenth century, with Descartes’s famous formulation that reason sets humans above other species: “I think, therefore I am.” Before that moment, animals could claim a firmer place alongside humans in a larger vision of belonging, or what she terms cosmopolity. With Shakespeare as her touchstone, Shannon explores the creaturely dispensation that existed until Descartes. She finds that early modern writers used classical natural history and readings of Genesis to credit animals with various kinds of stakeholdership, prerogative, and entitlement, employing the language of politics in a constitutional vision of cosmic membership. Using this political idiom to frame cross-species relations, Shannon argues, carried with it the notion that animals possess their own investments in the world, a point distinct from the question of whether animals have reason. It also enabled a sharp critique of the tyranny of humankind. By answering “the question of the animal” historically, The Accommodated Animal makes a brilliant contribution to cross-disciplinary debates engaging animal studies, political theory, intellectual history, and literary studies.
The Accommodated Animal: Cosmopolity in Shakespearean Locales
by Laurie ShannonShakespeare wrote of lions, shrews, horned toads, curs, mastiffs, and hellhounds. But the word “animal” itself only appears very rarely in his work, which was in keeping with sixteenth-century usage. As Laurie Shannon reveals in The Accommodated Animal, the modern human / animal divide first came strongly into play in the seventeenth century, with Descartes’s famous formulation that reason sets humans above other species: “I think, therefore I am.” Before that moment, animals could claim a firmer place alongside humans in a larger vision of belonging, or what she terms cosmopolity. With Shakespeare as her touchstone, Shannon explores the creaturely dispensation that existed until Descartes. She finds that early modern writers used classical natural history and readings of Genesis to credit animals with various kinds of stakeholdership, prerogative, and entitlement, employing the language of politics in a constitutional vision of cosmic membership. Using this political idiom to frame cross-species relations, Shannon argues, carried with it the notion that animals possess their own investments in the world, a point distinct from the question of whether animals have reason. It also enabled a sharp critique of the tyranny of humankind. By answering “the question of the animal” historically, The Accommodated Animal makes a brilliant contribution to cross-disciplinary debates engaging animal studies, political theory, intellectual history, and literary studies.
The Accommodated Animal: Cosmopolity in Shakespearean Locales
by Laurie ShannonShakespeare wrote of lions, shrews, horned toads, curs, mastiffs, and hellhounds. But the word “animal” itself only appears very rarely in his work, which was in keeping with sixteenth-century usage. As Laurie Shannon reveals in The Accommodated Animal, the modern human / animal divide first came strongly into play in the seventeenth century, with Descartes’s famous formulation that reason sets humans above other species: “I think, therefore I am.” Before that moment, animals could claim a firmer place alongside humans in a larger vision of belonging, or what she terms cosmopolity. With Shakespeare as her touchstone, Shannon explores the creaturely dispensation that existed until Descartes. She finds that early modern writers used classical natural history and readings of Genesis to credit animals with various kinds of stakeholdership, prerogative, and entitlement, employing the language of politics in a constitutional vision of cosmic membership. Using this political idiom to frame cross-species relations, Shannon argues, carried with it the notion that animals possess their own investments in the world, a point distinct from the question of whether animals have reason. It also enabled a sharp critique of the tyranny of humankind. By answering “the question of the animal” historically, The Accommodated Animal makes a brilliant contribution to cross-disciplinary debates engaging animal studies, political theory, intellectual history, and literary studies.
The Accidental Producer: How Anyone Can Get Their Show on Stage
by Tim JohansonA practical guide to small-scale theatre producing, focusing on exactly what is required to make your show a success. How do you make your first show a success? And, after that, how can you make your second and third a little bit better?Written by an experienced theatre producer, who has worked on over 20 small-scale shows across London, Edinburgh, the UK and in New York, this book is for those who want to get their show on, but are coming to it for the first time.Mirroring in its structure the 3 stages of producing - producing itself, general management and selling the show, the book answers conundrums such as:How do I find the perfect script?How will I pay for the production?Does it matter that I know nothing about company law, VAT and hiring?How can I get people to come and see the show?Alongside the author's own experience, it includes input from experts in their field including Jez Bond (Artistic Director of Park Theatre, London) and Chloe Nelkin (founder and director of Chloe Nelkin PR) and from first-time producers, including Kevin Shen (Special Relationship Productions), whose first show on the fringe transferred to the National Theatre.Fundamentally, this much-needed book doesn't just show how to make it happen: it shows why you should and how to make it the biggest success it can be.The book's liberating message is that it is perfectly possible for absolutely anyone to produce a show.
The Accidental Producer: How Anyone Can Get Their Show on Stage
by Tim JohansonFound yourself organising a show that you didn't mean to? Or frustrated that no one else is producing your show and just want to do it yourself? You're not alone.The Accidental Producer is the first-timer's guide to getting a play, musical or anything else on stage. This step by step handbook explains every stage of the production process, from funding your project to selling the show and everything in between.Written by an experienced theatre producer this book additionally shares the perspectives of eleven industry specialists you might encounter on your journey.· Park Theatre Artistic Director, Jez Bond on how to connect to a venue decision maker · Fleabag producer, Francesca Moody on the secrets to success at the Edinburgh Fringe· Arts Council England Relationship Manager, Paula Varjack on how securing their funding actually works· Press representative, Chloe Nelkin on how to maximise a show's press coverage · Agent, Alex Segal on approaching star actorsThis much-needed book's liberating message is that anyone can produce a successful show, especially if they have in their armoury the advice of those that have come before.
The accident did not take place (Oberon Modern Plays)
by Sam WardSomewhere on the other side of the world, a plane is falling from the sky.You can see it on your laptop. You can watch it happening on YouTube.You can hit rewind and watch it burning on repeat.Combining play text with experimental book design, the accident did not take place is a hyper-real exploration of the way we consume information, and the way information consumes us; a frenetic, head-on collision with a world thoroughly mediated by screens, a world possessed with post-truth hysteria, a world yearning for contact with those who seem so far away.