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Secrets of 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--anyone working in front of the cameras--gives excellent performances on screen.Instead of starting with what is real and trying to wrestle that onto the screen, Patrick Tucker explains how to work with the realities of a shoot and work from there towards the real. His step-by-step guide to the elements of effective screen acting is an extension and explanation of a lifetime of work in the field, containing over 50 acting exercises and the tried-and-tested Screen Acting Checklist. As well as being completely updated to cover new techniques, film references and insights, this third edition now includes a set of Film Clip Time Codes for each film. These not only itemise the films discussed in each chapter, but also pinpoint the precise moments where each example can be found so that students, teachers, and professional actors can refer to them quickly and easily.

Secrets of 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--anyone working in front of the cameras--gives excellent performances on screen.Instead of starting with what is real and trying to wrestle that onto the screen, Patrick Tucker explains how to work with the realities of a shoot and work from there towards the real. His step-by-step guide to the elements of effective screen acting is an extension and explanation of a lifetime of work in the field, containing over 50 acting exercises and the tried-and-tested Screen Acting Checklist. As well as being completely updated to cover new techniques, film references and insights, this third edition now includes a set of Film Clip Time Codes for each film. These not only itemise the films discussed in each chapter, but also pinpoint the precise moments where each example can be found so that students, teachers, and professional actors can refer to them quickly and easily.

The Actor's Survival Handbook

Worried about short rehearsal time? Think that fluffing your lines will be the end of your career? Are you afraid you'll be typecast? Is there such a thing as acting too much? How should a stage actor adjust performance for a camera? And how should an actor behave backstage?The Actor's Survival Handbook gives you answers to all these questions and many more. Written with verve and humor, this utterly essential tool speaks to every actor's deepest concerns. Drawing upon their years of experience on stage, backstage, and with the camera, Patrick Tucker and Christine Ozanne offer forthright advice on topics from breathing to props, commitment to learning lines, audience response to simply landing the job in the first place. The book is rich with examples - both technical and inspirational. And because a director and an actor won't always agree, the two writers sometimes even offer alternative responses to a dilemma, giving the reader both an actor's take and a director's take on a particular point.Like Patrick Tucker's Secrets of Screen Acting, this new book is written with wit and passion, conveying the authors' powerful conviction that success is within every actor's grasp.

The Actor's Survival Handbook

Worried about short rehearsal time? Think that fluffing your lines will be the end of your career? Are you afraid you'll be typecast? Is there such a thing as acting too much? How should a stage actor adjust performance for a camera? And how should an actor behave backstage?The Actor's Survival Handbook gives you answers to all these questions and many more. Written with verve and humor, this utterly essential tool speaks to every actor's deepest concerns. Drawing upon their years of experience on stage, backstage, and with the camera, Patrick Tucker and Christine Ozanne offer forthright advice on topics from breathing to props, commitment to learning lines, audience response to simply landing the job in the first place. The book is rich with examples - both technical and inspirational. And because a director and an actor won't always agree, the two writers sometimes even offer alternative responses to a dilemma, giving the reader both an actor's take and a director's take on a particular point.Like Patrick Tucker's Secrets of Screen Acting, this new book is written with wit and passion, conveying the authors' powerful conviction that success is within every actor's grasp.

Speculative Art Histories: Analysis at the Limits

First full-scale thematic analysis of Pina Bausch’s Tanztheater, critically evaluating the impact of modernist theatre on her choreographic method

Performing the Wound: Practicing a Feminist Theatre of Becoming (Routledge Advances in Theatre & Performance Studies)

This book offers a matrixial, feminist-centered analysis of trauma and performance, through examining the work of three artists: Ann Hamilton, Renée Green, and Cecilia Vicuña. Each artist engages in a multi-media, or “combination” performance practice; this includes the use of site, embodied performance, material elements, film, and writing. Each case study involves traumatic content, including the legacy of slavery, child sexual abuse and environmental degradation; each artist constructs an aesthetic milieu that invites rather than immerses—this allows an audience to have agency, as well as multiple pathways into their engagement with the art. The author Niki Tulk suggests that these works facilitate an audience-performance relationship based on the concept of ethical witnessing/wit(h)nessing, in which viewers are not positioned as voyeurs, nor made to risk re-traumatization by being forced to view traumatic events re-played on stage. This approach also allows agency to the art itself, in that an ethical space is created where the art is not objectified or looked at—but joined with. Foundational to this investigation are the writings of Bracha L. Ettinger, Jill Bennett and Diana Taylor—particularly Ettinger’s concepts of the matrixial, carriance and border-linking. These artists and scholars present a capacity to expand and articulate answers to questions regarding how to make performance that remains compelling and truthful to the trauma experience, but not re-traumatizing. This study will be of great interest to students and scholars of performance studies, art history, visual arts, feminist studies, theatre, film, performance art, postcolonialism, rhetoric and writing.

Performing the Wound: Practicing a Feminist Theatre of Becoming (Routledge Advances in Theatre & Performance Studies)

This book offers a matrixial, feminist-centered analysis of trauma and performance, through examining the work of three artists: Ann Hamilton, Renée Green, and Cecilia Vicuña. Each artist engages in a multi-media, or “combination” performance practice; this includes the use of site, embodied performance, material elements, film, and writing. Each case study involves traumatic content, including the legacy of slavery, child sexual abuse and environmental degradation; each artist constructs an aesthetic milieu that invites rather than immerses—this allows an audience to have agency, as well as multiple pathways into their engagement with the art. The author Niki Tulk suggests that these works facilitate an audience-performance relationship based on the concept of ethical witnessing/wit(h)nessing, in which viewers are not positioned as voyeurs, nor made to risk re-traumatization by being forced to view traumatic events re-played on stage. This approach also allows agency to the art itself, in that an ethical space is created where the art is not objectified or looked at—but joined with. Foundational to this investigation are the writings of Bracha L. Ettinger, Jill Bennett and Diana Taylor—particularly Ettinger’s concepts of the matrixial, carriance and border-linking. These artists and scholars present a capacity to expand and articulate answers to questions regarding how to make performance that remains compelling and truthful to the trauma experience, but not re-traumatizing. This study will be of great interest to students and scholars of performance studies, art history, visual arts, feminist studies, theatre, film, performance art, postcolonialism, rhetoric and writing.

Gerry & Sewell: Adapted from the novel The Season Ticket by Jonathan Tulloch (Modern Plays)

Antony Gormley's angel looked down on the lads. "She'll see us through, she'll help us. The guardian angel of fucking toe rags."Two lads. One mission. Belta.Based on Jonathan Tulloch's The Season Ticket, adapted by Jamie Eastlake. Sewell and Gerry live in Gateshead. Theirs seems the perfect partnership. Sewell is physically strong, Gerry is small but crafty. Neither has attended school for a long time. Both are broke, and both love one thing, Newcastle United. An exciting adaptation featuring puppetry, live music and a purely belter tale of epic proportions.This edition was published to coincide with the premiere at Laurels Whitley Bay in March 2022, ahead of a UK tour.

Gerry & Sewell: Adapted from the novel The Season Ticket by Jonathan Tulloch (Modern Plays)

Antony Gormley's angel looked down on the lads. "She'll see us through, she'll help us. The guardian angel of fucking toe rags."Two lads. One mission. Belta.Based on Jonathan Tulloch's The Season Ticket, adapted by Jamie Eastlake. Sewell and Gerry live in Gateshead. Theirs seems the perfect partnership. Sewell is physically strong, Gerry is small but crafty. Neither has attended school for a long time. Both are broke, and both love one thing, Newcastle United. An exciting adaptation featuring puppetry, live music and a purely belter tale of epic proportions.This edition was published to coincide with the premiere at Laurels Whitley Bay in March 2022, ahead of a UK tour.

“I am Jugoslovenka!”: Feminist performance politics during and after Yugoslav Socialism (Rethinking Art's Histories)

“I am Jugoslovenka” argues that queer-feminist artistic and political resistance were paradoxically enabled by socialist Yugoslavia’s unique history of patriarchy and women’s emancipation. Spanning performance and conceptual art, video works, film and pop music, lesbian activism and press photos of female snipers in the Yugoslav wars, the book analyses feminist resistance in a range of performative actions that manifest the radical embodiment of Yugoslavia’s anti-fascist, transnational and feminist legacies. It covers celebrated and lesser-known artists from the 1970s to today, including Marina Abramovic, Sanja Ivekovic, Vlasta Delimar, Tanja Ostojic, Selma Selman and Helena Janecic, along with music legends Lepa Brena and Esma Redžepova. “I am Jugoslovenka” tells a unique story of women’s resistance through the intersection of feminism, socialism and nationalism in East European visual culture.

“I am Jugoslovenka!”: Feminist performance politics during and after Yugoslav Socialism (Rethinking Art's Histories)

“I am Jugoslovenka” argues that queer-feminist artistic and political resistance were paradoxically enabled by socialist Yugoslavia’s unique history of patriarchy and women’s emancipation. Spanning performance and conceptual art, video works, film and pop music, lesbian activism and press photos of female snipers in the Yugoslav wars, the book analyses feminist resistance in a range of performative actions that manifest the radical embodiment of Yugoslavia’s anti-fascist, transnational and feminist legacies. It covers celebrated and lesser-known artists from the 1970s to today, including Marina Abramovic, Sanja Ivekovic, Vlasta Delimar, Tanja Ostojic, Selma Selman and Helena Janecic, along with music legends Lepa Brena and Esma Redžepova. “I am Jugoslovenka” tells a unique story of women’s resistance through the intersection of feminism, socialism and nationalism in East European visual culture.

Three Days in the Country: An Unfaithful Version

A handsome new tutor brings reckless, romantic desire to an eccentric household. Over three days one summer the young and the old will learn lessons in love: first love and forbidden love, maternal love and platonic love, ridiculous love and last love. The love left unsaid and the love which must out.Ivan Turgenev's passionate, moving comedy, A Month in the Country, has been a source of inspiration for films, a ballet and the plays of Chekhov. Patrick Marber's Three Days in the Country premiered at the National Theatre, London, in June 2015 in association with Sonia Friedman Productions.

The Country Doctor (Oberon Modern Plays Ser.)

'I've come across some stories in my time. The things people tell you when they think they're on the brink...' A country doctor recounts a story to an aspiring Russian novelist. The tale is unexpected, short and bittersweet, rather like its subject: a love affair between the doctor and his dying patient, the beautiful and cultured Alexandra Andreyevna. Thrown together by her condition, they find a love imbued with an honesty and an urgency that most would find unbearable. But this young woman's life is particularly fragile and in his desperate bid to cure her the doctor unwittingly prescribes the most dangerous drug of all. The Country Doctor was first published in the Russian literary magazine The Contemporary in the late 1840s. It was one of many tales which would later comprise The Sportsman's Notebook. Simon Day dramatises this enchanting story of frustrated love, bringing the elegance of Turgenev's prose to life in a new way.

Turgenev Plays: The Strom Too Clever By Half Crazy Money Innocent As Charged (Nhb Modern Plays Ser.)

Turgenev (1818-1883) tends to be seen in Chekhov’s shadow, yet his plays pre-date Chekhov’s work by nearly half a century. A Month in the Country is Turgenev’s acknowledged masterpiece. Includes the plays; A Month in the Country, Stony Broke, One of the Family, The Bachelor, Lunch at His Excellency's and A Provincial Lady.

Dramaturgy and Architecture: Theatre, Utopia and the Built Environment (New Dramaturgies)

Dramaturgy and Architecture approaches modern and postmodern theatre's contribution to the way we think about the buildings and spaces we inhabit. It discusses in detail ways in which theatre and performance have critiqued and intervened in everyday spaces, modelled our dreams or fears and made proposals for the future.

Dramaturgy and Performance (Theatre and Performance Practices)

Outlining different perspectives, this classic and field-defining text introduces 'dramaturgy' as a critical concept and a practical process in an accessible and engaging style. The revised edition includes a new introduction and afterword which provides insight into contemporary developments and future directions of scholarship.

Performance at the Urban Periphery: Insights from South India (Routledge Advances in Theatre & Performance Studies)

This edited volume considers performance in its engagement with expanding Indian cities, with a particular focus on festivals and performances in Karnataka, Tamil Nadu and Kerala. The editors ask how performance practices are affected by urbanisation, the effects of such changes on their cultural economy, and the environmental impacts of performance itself. This project also considers how performance responds to its context, and the potential for performance to be critical of the city’s development, and of its own compromises. Bringing together perspectives from the humanities, natural and social sciences, the book takes a multi-faceted analytical view of live performance, connecting contemporary with heritage forms, and human with more-than-human actors. The three sections, themed around heritage, everyday life, and future ecologies, will be of great interest to students and scholars in performance, heritage studies, ecology and art history.

Shakespeare's Twenty-first Century Economics: The Morality Of Love And Money

Shakespeare's Twenty-First Century Economics: The Morality of Love and Money

"I love you according to my bond," says Cordelia to her father in King Lear. As the play turns out, Cordelia proves to be an exemplary and loving daughter. A bond is both a legal or financial obligation, and a connection of mutual love. How are these things connected? In As You Like It, Shakespeare describes marriage as a "blessed bond of board and bed": the emotional, religious, and sexual sides of marriage cannot be detached from its status as a legal and economic contract. These examples are the pith of Frederick Turner's fascinating new book. Based on the proven maxim that "money makes the world go round," this engaging study draws from Shakespeare's texts to present a lexicon of common words, as well as a variety of familiar familial and cultural situations, in an economic context. Making constant recourse to well-known material from Shakespeare's plays, Turner demonstrates that the terms of money and value permeate our minds and lives even in our most mundane moments. His book offers a new, humane, evolutionary economics that fully expresses the moral, spiritual, and aesthetic relationships among persons, and between humans and nature. Playful and incisive, Turner's book offers a way to engage the wisdom of Shakespeare in everyday life in a trenchant prose that is accessible to lovers of Shakespeare at all levels.

Shakespeare's Double Helix (Shakespeare Now!)

What does it mean to make life? This book focuses on one of the key questions for culture and science in both Shakespeare's time and our own. Shakespeare wrote A Midsummer Night's Dream during a period when the 'new science' had begun to unsettle the foundations of knowledge about the natural world. Through close analysis of the play and reflection on modern genetic engineering, Turner examines developments in early modern culture as it sought to come to terms with the new forces of magic, astrology, alchemy and mechanics -Â fields of knowledge that preoccupied the most adventurous intellects of Shakespeare's period and that promised limitless power over nature. Shakespeare's writing sheds light on current developments in science, ethics, law, and religion in contemporary culture. This book reveals the richness and peculiarity of early scientific thought in Shakespeare's time and shows how the questions he poses remain fundamental as the nature of 'life' has become one of the most pressing political, ethical, and philosophical problems for society today.

Voice and Speech in the Theatre

This is a classic book on voice and speech, designed for actors at all levels. One of the great voice teachers of his day, J. Clifford Turner here uses simple and direct language to impart the necessary technical 'basics' of speech and voice.

Voice and Speech in the Theatre

This is a classic book on voice and speech, designed for actors at all levels. One of the great voice teachers of his day, J. Clifford Turner here uses simple and direct language to impart the necessary technical 'basics' of speech and voice.

Eugenio Barba (Routledge Performance Practitioners)

Eugenio Barba is recognized as one of the most important theatre practitioners working today. Along with the company he founded over fifty years ago, the world-acclaimed Odin Teatret, he continues to produce extraordinary theatre performances that tour the world, and his International School of Theatre Anthropology has greatly developed research into the craft of the actor. Now revised and updated, this volume reveals the background to and work of a major influence on twentieth- and twenty-first century performance. Eugenio Barba is the first book to combine: an overview of Barba’s work and that of his company, Odin Teatret exploration of his writings and ideas on theatre anthropology, and his unique contribution to contemporary performance research in-depth analysis of the 2000 production of Ego Faust, performed at the International School of Theatre Anthropology a practical guide to training exercises developed by Barba and the actors in the company. As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners offer unbeatable value for today’s student.

Eugenio Barba (Routledge Performance Practitioners)

Eugenio Barba is recognized as one of the most important theatre practitioners working today. Along with the company he founded over fifty years ago, the world-acclaimed Odin Teatret, he continues to produce extraordinary theatre performances that tour the world, and his International School of Theatre Anthropology has greatly developed research into the craft of the actor. Now revised and updated, this volume reveals the background to and work of a major influence on twentieth- and twenty-first century performance. Eugenio Barba is the first book to combine: an overview of Barba’s work and that of his company, Odin Teatret exploration of his writings and ideas on theatre anthropology, and his unique contribution to contemporary performance research in-depth analysis of the 2000 production of Ego Faust, performed at the International School of Theatre Anthropology a practical guide to training exercises developed by Barba and the actors in the company. As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners offer unbeatable value for today’s student.

A Poetics of Third Theatre: Performer Training, Dramaturgy, Cultural Action (Perspectives on Performer Training)

A Poetics of Third Theatre offers an in-depth, critical analysis of Third Theatre, a transnational community of theatre groups and artists united by a shared set of values and a laboratory attitude. This book takes a genealogical account of Third Theatre as a concept and a practice that draws attention to the historical Third Theatre Encounters that have taken place across Europe and Latin America since the 1970s. The work of renowned Third Theatre groups and organisations, such as LUME (Brazil), Grupo Cultural Yuyachkani (Peru), Triangle Theatre (UK) and Nordisk Teaterlaboratorium – NTL (Denmark), are explored to reveal how a multifarious poetics of Third Theatre is manifest through these artists’ approaches to performer training, dramaturgy and cultural action. Three critical pillars – unconditional hospitality, artisanal craft and (re)enchantment – are employed in order to illuminate the shared ethos of the Third Theatre community and its exemplification as a mode of cultural performance. This informative text will be of great use to students and scholars of drama and theatre studies, and its dedicated section on performer training exercises offers the reader pathways into an experiential engagement with Third Theatre craft.