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The beginning actor will find here the tools to prepare for a life on stage, and the experienced performer will appreciate techniques that will turn good performances into great ones.
David Zinder’s Body Voice Imagination is written by one of the master teachers of the Michael Chekhov technique of acting training. This book is a comprehensive course of exercises devoted to the development of actors’ creative expressivity, comprising both pre-Chekhov ImageWork Training and seminal exercises of the Chekhov technique. It also details the way in which these techniques can be applied to performance through a discovery of the profound connections between the actor’s body, imagination and voice.
In Mythic Imagination and the Actor, Marissa Chibás draws on over three decades of experience as a Latinx actor, writer, filmmaker, and teacher to offer an approach to acting that embraces collective imagination, archetypal work, and the mythic. The book begins with a comparative analysis between method acting and mythic acting, encouraging actors to push past the limits of singular life experience and move to a realm where imagination and metaphor thrive. In the context of mythic acting, the book explores awareness work, solo performance creation, the power of archetypes, character building exercises, creating a body/text connection, and how to be the detective of your own process. Through this inclusive guide for a new age of diverse performers traversing gender, ability, culture, and race, readers are able to move beyond their limits to a deep engagement with the infinite possibilities of rich imagination. The final chapter empowers and motivates artists to live healthfully within the practice and create a personal artistic vision plan. Written for actors and students of acting, American Drama, and film and theatre studies, Mythic Imagination and the Actor provides practical exercises and prompts to unlock and interpret an actor’s deepest creative sources.
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.
In this practical guide, renowned actor and director Michael Chekhov shares his innovative approach to the craft of acting. Drawing on his extensive experience in the theater and his unique understanding of the actor's creative process, Chekhov presents a comprehensive system of techniques designed to help actors develop their physical, mental, and emotional abilities. Through a series of exercises and principles, actors can learn to create compelling, truthful performances that captivate audiences and bring characters to life on stage and screen.
Twenty-four leading voice experts speak out on the changing role of voice on stage. Essay topics include: Re-Discovering Lost Voices * Thoughts on Theatre, Therapy, and the Art of Voice * Finding Our Lost Singing Voices * Voice Training, Where Have We Come From? * Vocal Coaching in Private Practice * more.
Stanislavski in Practice is an unparalleled step-by-step guide to Stanislavski’s System. Author Nick O’Brien makes this cornerstone of acting accessible to teachers and students alike. This is an exercise book for students and a lesson planner for teachers on syllabi from Edexcel, WJEC and AQA to the practice-based requirements of BTEC. Each element of the System is covered practically through studio exercises and jargon-free discussion. Over a decade’s experience of acting and teaching makes O’Brien perfectly placed to advise anyone wanting to understand or apply Stanislavski’s system. Features include: Practical extension work for students to take away from the lesson Notes for teachers on how to use material with different age groups Exam tips for students based on specific syllabi requirements A chapter dedicated to using Stanislavski when rehearsing a text A glossary of terms that students of the System will encounter
Vocal expression is a part of nearly everyone's workday, yet most of us are unaware of how much influence our voice exerts over our effectiveness. McAfee's work shows how we can deliberately marshal the power of our voices to support our intentions, aspirations, and relationships.
'Petit's words go right to the heart of Chekhov's technique ... Anyone looking for a key to understanding more about Michael Chekhov's technique will devour it.' – Jessica Cerullo, Michael Chekhov Association, NYC The Michael Chekhov technique is today seen as one of the most influential and inspiring methods of actor training in existence. In The Michael Chekhov Handbook, Lenard Petit draws on twenty years of teaching experience to unlock and illuminate this often complex technique. Petit uses four sections to guide those studying, working with or encountering Chekhov's approach for the first time: the aims of the technique – outlining the real aims of the actor the principles – acting with energy, imagination and creative power the tools – the actor’s use of the body and sensation the application – bringing the technique into practice The Michael Chekhov Handbook’s explanations and exercises will provide readers with the essential tools they need to put the rewarding principles of this technique into use. Lenard Petit is the Artistic Director of The Michael Chekhov Acting Studio in New York City. He teaches Chekhov Technique in the MFA and BFA Acting programs at Rutgers University. He was a contributor and co-creator of the DVD, Master Classes in The Michael Chekhov Technique, published by Routledge.
This complete companion to the study of drama, theatre and performance studies is an essential reference point for students undertaking or preparing to undertake a course either at university or at drama school. Designed as a single reference resource, it introduces the main components of the subject, the key theories and thinkers, as well as vital study skills. Written by a highly regarded academic and practitioner with a wealth of expertise and experience in teaching, Mangan takes students from studio to stage, from lecture theatre to workshop, covering practice as well as theory and history. Reliable and comprehensive, this guide is invaluable throughout a degree or course at various levels. It is essential reading for undergraduate students of Drama, Theatre and Performance Studies at universities, drama schools and conservatoires, as well as AS and A Level students studying Drama and Theatre who are considering studying the subject at degree level.