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Acting the Right Part is a cultural history of huaju (modern Chinese drama) from 1966 to 1996. Xiaomei Chen situates her study both in the context of Chinese literary and cultural history and in the context of comparative drama and theater, cultural studies, and critical issues relevant to national theater worldwide. Following a discussion of the marginality of modern Chinese drama in relation to other genres, periods, and cultures, early chapters focus on the dynamic relationship between theater and revolution. Chosen during the Cultural Revolution as the exclusive artistic vehicle to promote proletariat art, "model theater" raises important questions about the complex relationships between women, memory, nation/state, revolution, and visual culture. Throughout this study, Chen argues that dramatic norms inform both theatrical performance and everyday political behavior in contemporary China.
(Applause Books). A master actor who's appeared in an enormous number of films, starring with everyone from Nicholson to Kermit the Frog, Michael Caine is uniquely qualified to provide his view of making movies. This revised and expanded edition features great photos, with chapters on: Preparation, In Front of the Camera Before You Shoot, The Take, Characters, Directors, On Being a Star, and much more. "Remarkable material ... A treasure ... I'm not going to be looking at performances quite the same way ... FASCINATING!" Gene Siskel
This delightfully tropey teen romance perfect for fans of Ashley Poston and Lyla Lee follows a queer teen actor navigating their gender identity—while pretending to date their co-star. Queer actor Lily Ashton has found fame playing lesbian warrior Morgantha on the hit TV show Galaxy Spark. Lily knows how little representation queer girls have, so when the showrunners reveal that Morgantha’s on-screen love interest, Alietta, is going to be killed off, Lily orchestrates an elaborate fake-dating scheme with the standoffish actress who plays her, to generate press and ensure a happy ending for the #Morganetta ship. But while playing a doting girlfriend on- and off-screen, Lily struggles with whether a word like “girl” applies to them at all. Lily’s always been good at playing a part. But are they ready to share their real self, even if it means throwing everything they’ve fought for away?
Acting Right is the leading work on using drama to teach behavior. This step-by-step approach integrates engaging aspects of drama with effective elements of classroom management to empower students to take ownership of and be responsible for their own behavior. Used in classrooms across the country, these strategies help create the behavioral literacy necessary for students to concentrate, cooperate, collaborate and establish a sense of calm, focus, and balance in the classroom. Sean Layne is the founder of Focus 5, Inc., an arts education consulting company providing professional learning opportunities to schools, school districts, performing arts centers, arts organizations, and museums around the country. Sean has worked in the field of arts integration for 30 years. He is a national teaching artist for The John F. Kennedy Center for Performing Arts in Washington, DC. He designs arts integration training seminars for teaching artists for The Kennedy Center and is also a course leader and arts coach for their Changing Education Through the Arts program. For over a decade Sean was a professional actor as well as a Master Artist for the Wolf Trap Institute Early Learning Through the Arts program.
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.
"Acting the Part is the first major history of staged photography. Analysing many key works, from Hippolyte Bayard's 1840 self-depiction as a suicide by drowning to Man Ray's 1923 portrait of Marcel Duchamp posing as his alter ego, Rrose Selavy, Cindy Sherman's Untitled Film Stills of the 1970s, and Yinka Shonibare's 1998 Diary of a Victorian Dandy, it traces the genre from its mid-nineteenth-century origins to the present day." "Illustrated throughout with works ranging from the earliest salted paper prints and daguerreotypes to today's digitally manipulated images, Acting the Part is an authoritative survey of this enduring and highly creative branch of photography. It makes an argument for the importance of the staged photograph within the history of the medium and demonstrates its intrinsic artistic value."--BOOK JACKET.
The first complete entertainment dictionary to be published, this work contains entries on acting in film, professionalism in acting, verse technique, and more. An invaluable index of subjects by category covers 17 topics, including lighting, commercials, contracts, drama, professional organizations, the media, and theater.
"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 exploration rather than as a progression toward a fixed goal. He also offers sound and original advice on adapting to the particular demands of television and film, playing difficult emotional scenes, tackling the Shakespearean and other great roles, and more. His book will find an eager and appreciative audience among novices and established actors alike.
A master actor who's appeared in an enormous number of films starring with everyone from Nicholson to Kermit the Frog Michael Caine is uniquely qualified to provide his view of making movies. This new revised and expanded edition features great photos t
“A refreshing and enlightening new perspective on what it means to be powerful.”—Susan Cain, bestselling author of Quiet We all know what it looks like to use power badly. But how much do we really know about how to use power well? There is so much we get wrong about power: who has it, what it looks like, and the role it plays in our lives. Grounded in over two decades’ worth of scientific research and inspired by the popular class of the same name at Stanford’s Graduate School of Business, Acting with Power offers a new and eye-opening paradigm that overturns everything we thought we knew about the nature of power. Although we all feel powerless sometimes, we have more power than we tend to believe. Power exists in every relationship, not just at the top of big institutions. It isn’t merely a function of status or hierarchy, either. It’s about how much we are needed and how well we take care of other people. We often assume that power flows to those with the loudest voice or the most commanding presence. But, in fact, true power is often much quieter and more deferential than we realize. Moreover, it’s not just how much power we have but how we use it that determines how powerful we actually are. Actors aren’t the only ones who play roles for a living. We all make choices about how to use the power that comes with our given circumstances. We aren’t always cast in the roles we desire—or the ones we feel prepared to play. Some of us struggle to step up and be taken more seriously, while others have trouble standing back and ceding the spotlight. In Acting with Power, Deborah Gruenfeld shows how we can get more comfortable with power by adopting an actor’s mindset. Because power isn’t a personal attribute. It’s a part we play in someone else’s story.