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Acting from the Ultimate Consciousness is Eric Morris's fourth popular book on the art of acting. His previous works have established him among the foremost innovators in the world of drama. His system, based on the Stanislavsky method but going far beyond it, begins with an exploration of consciousness and the instrumental needs of the actor and expands to dozens of practical techniques that enable the actor to utilize the full range of his talent. With complete sections on characterization, rehearsing and ensemble, this is a book that all stage or screen actors--beginning to advanced--should read, absorb and practice.
The Invisible Actor presents the captivating and unique methods of the distinguished Japanese actor and director, Yoshi Oida. While a member of Peter Brook's theatre company in Paris, Yoshi Oida developed a masterful approach to acting that combined the oriental tradition of supreme and studied control with the Western performer's need to characterise and expose depths of emotion. Written with Lorna Marshall, Yoshi Oida explains that once the audience becomes openly aware of the actor's method and becomes too conscious of the actor's artistry, the wonder of performance dies. The audience must never see the actor but only his or her performance. Throughout Lorna Marshall provides contextual commentary on Yoshi Oida's work and methods. In a new foreword to accompany the Bloomsbury Revelations edition, Yoshi Oida revisits the questions that have informed his career as an actor and explores how his skilful approach to acting has shaped the wider contours of his life.
texts that document the Eric Morris system of “experiential acting.” This book is about SUBPERSONALITIES—what subpersonalities are, how they impact our lives and how we use them. It is exclusively written for actors. The journey of exploration starts with the origins and beginnings. Excerpts from books by Carl G. Jung, a Swiss psychologist who explored archetypes, are followed by the use and description of behavioral examples of personalities. The theory is then examined: who are the selves, how were they created and how do they function? The exploration continues with a technique that I created many years ago: THE ELEVENTH LEVEL OF CONSCIOUSNESS, which is totally explained. Then comes EXPERIENCE HUNTING—CHOICE HUNTING, detailing the various approaches used to find experiences and choices that can be used in one’s acting. In the next section of the book, which is a very large section, I detail specifically the approach techniques for accessing subpersonalities, which are: VOICE DIALOGUE (a complete example of the process is given), WRITING IN JOURNAL FORM OR USING A TAPE RECORDER, USING MOVEMENT AND DANCE, USING ART AND DRAWING, USING CHOICES, USING MUSIC, AND ROLEPLAYING. All of those techniques and the approaches to them are explained in specific detail. In EXTERNALS I describe what that approach is and how to use it to access various subpersonalities. Externals is a "megapproach” and an important part of my work. A megapproach is such a powerful technique that it could be used as a total acting system. Externals is a process that includes getting a sense of animals, people, insects and inanimate objects and then translating that energy into human behavior. This technique is very impacting on eliciting various subpersonalities. The last of this group is IMAGING, also a megapproach. The next section explains HOW YOU KNOW WHEN YOU ARE INHABITED BY A SUBPERSONALITY. The actor must be able to distinguish between really inhabiting the energy of a subpart and faking it! The DAILY SUBPERSONALITY INVENTORY is an exercise the actor should do on a daily basis to be able to identify the difference between a mood swing and a subpersonality. The section on RESEARCHING THE CHARACTER explains how to identify the different character elements and find a subpersonality to fulfill those components. All of that is followed by a section about going back to historical events, such as the Second World War or the post-war years and exploring characters in plays and films o
Acting, Imaging, and the Unconscious is the fifth in a series of books written by Eric Morris on his unique system of acting. In this book the emphasis is on imaging as an acting tool to fulfill dramatic material. The work begins with an exploration of the various uses of imaging and goes on to delineate very specific techniques and approaches on how to image, when to image and why. Involved in this process are dreams and dreaming, as well as subpersonalities, which all serve to access and communicate with the unconscious, where ninety-five per cent of an actor's talent lives. Also explored is a process of programming the unconscious to liberate the images that lie at the core of an actor's experience and talent, thus releasing the exciting wellsprings of creativity in the roles an actor plays. With complete examples taken from classical and contemporary plays and films, this book enters territories that had never before been tread upon, thus taking the art of acting into a totally new dimension.
Life is an act. We act like humans, and therefore we experience like humans with a litany of limitations, shortcomings and drama that mask our underlying angelic consciousness. It’s an unnatural act that we have come to accept as reality. In Act of Consciousness, Ascended Master Adamus Saint‐Germain begins by explaining the metaphysics of energy. He defines the difference between consciousness and energy and makes the clear point that we are beings of consciousness – not energy – and that the passion of our pure consciousness attracts energy from the unified field to manifest our reality. Adamus defines the four primary levels of energy including Core (soul), Crystalline, Cosmic and Earth while educating the reader about how the various levels are used by our consciousness to manifest our stage-of-life. Adamus implores the reader to act like a Master rather than acting like a less-than‐perfect human. This act will literally change the type of energy being attracted into the reader’s life, and therefore change the reality theatre one exists within. Some readers will question this approach saying, “It’s not real because it’s just an act,” to which Adamus will reply, “But everything in your life is just an act, so why not act like a prosperous, healthy and wise Master? This will change the theatre of your life, but the real question is, ‘Are you really ready for a substantial change, or are you just trying to tidy up your current stage?’” It’s a remarkably simple and effective approach to an otherwise mental and laborious process of becoming your full potential. Act of Consciousness will make you laugh, make you angry and make you question your old beliefs about how reality is created and experienced. By the time you read Saint-Germain’s last words you will cry a few tears of joy and relief to know that life is as easy as an Act of Consciousness. Saint-Germain had many notable past lives, including that of William Shakespeare and Mark Twain (Samuel Clemens). These lifetimes gave him an appreciation for the theatre, acting and story-telling. Book length: Approximately 30,000 words
From Richard Hornby's preface: This book is written for those who act, those who teach acting, and those who are interested in seeing it. It is both a theoretical work and a call for action. This book is an unashamed attack on the American acting establishment ... The concepts derive from my graduate seminars in acting theory and history in the School of Theatre at Florida State University ... Much of the feistiness of those classes carries over into this book ... If my arguments serve only to stimulate new dialogue, they will have been valuable.
Freeing the Actor is the seventh in a series of books by Eric Morris which explain and describe his unique system of acting. His previous books are among the most popular texts used by students and professional actors alike. In this book, which is totally aimed at the instrument, Eric has implemented a complete approach to eliminating the obstacles, dependencies, traps and habits that plague and block actors from functioning from an authentic, organic place. Historically most acting coaches and teachers have failed to adequately address the instrumental problems that cripple actors. By teaching them how not to act, Eric has influenced scores of people to become experiential actors. His teaching has led them to understand that they must experience in reality what the character is experiencing in the material. In order to accomplish that, they must be instrumentally free to connect with and express their authentic emotional realities. Liberating the instrument allows them to access all the colors of their emotional rainbow.
The Diary of a Professional Experiencer is the sixth in a series of books written by Eric Morris. Unlike his other books, this is a very personal account of his frustrations and struggles as he strives to discover how the actor creates reality on the stage or in film. Though the style is autobiographical, this is, nevertheless, a book about acting. It details the specific discoveries and breakthroughs in the evolution of what Morris believes is the most complete acting system to date. The old adage, Necessity is the mother of invention, truly describes his drive to discover, explore, and experiment with incredible techniques for liberating the actor so that acting goes beyond the conventional into the experiential. The book also chronicles Morris' encounters with many famous teachers, actors, directors, producers, and writers, as well as not-so-famous people, who influenced, challenged, and inspired him on his journey. It starts with Morris' early childhood and growing-up years in Chicago and goes on to describe the trials and tribulations of pursuing a career in Hollywood, as well as the fulfillment that comes from creating a truly life-changing approach to living and acting.
From his childhood in the borderlands of what is now Pakistan, to his position today as the foremost teacher of acting – guru of acting – in India, the saga of Shri Roshan Taneja is not only the story of this remarkable man, but of India herself – vision, grit, struggle, and a never ending search for perfection. From his 13 years of teaching at the Film Institute of India, Pune, to today, the list of Taneja-sahib's students reads like a list of honour – Shatrughan Sinha, Jaya Bhaduri, Naveen Nischal, Rehana Sultan, Danny, Shabana Azmi, Mithun Chakraborti, Naseeruddin Shah, Om Puri – these are only a few of his students from the Film Institute; when he shifted to Bombay, he guided such fine actors as Anil Kapoor, Aamir Khan, Ajay Devgun, Govinda,Tina Munim, and so many others. Roshan Taneja speaks of all of these artistes in rich, personal terms – but he also speaks of his struggle in the Hindi-film industry – including doing an impromptu improvisation with Meena Kumari – and, above all, his sojourn to the USA in the early 50's to pursue his dream of learning acting, a dream he pursues even today.
In 1999, Joseph Pine and James Gilmore offered this idea to readers as a new way to think about connecting with customers and securing their loyalty. As a result, their book The Experience Economy is now a classic, embraced by readers and companies worldwide and read in more than a dozen languages. And though the world has changed in many ways since then, the way to a customer's heart has not. In fact, the idea of staging experiences to leave a memorable—and lucrative—impression is now more relevant than ever. With an ongoing torrent of brands attacking consumers from all sides, how do you make yours stand out? Welcome to the new Experience Economy. With this fully updated edition of the book, Pine and Gilmore make an even stronger case that experience is the missing link between a company and its potential audience. It offers new rich examples—including the U.S. Army, Heineken Experience, Autostadt, Vinopolis, American Girl Place, and others—to show fresh approaches to scripting and staging compelling experiences, while staying true to the very real economic conditions of the day.