Download Free Objectives Obstacles And Tactics In Practice Book in PDF and EPUB Free Download. You can read online Objectives Obstacles And Tactics In Practice and write the review.

Objectives, Obstacles, and Tactics in Practice is the first book that compiles practical approaches of the best practices from a range of practitioners on the subject of working with Stanislavski's "objectives," "obstacles," and "tactics." The book offers instructors and directors a variety of tools from leading acting teachers, who bring their own individual perspectives to the challenge of working with Stanislavski's principles for today's actors, in one volume. Each essay addresses its own theoretical and practical approach and offers concrete instructions for implementing new explorations both in the classroom and in the rehearsal studio. An excellent resource for acting and directing instructors at the university level, directing and theatre pedagogy students, high school/secondary theatre teachers, and community theatre leaders, Objectives, Obstacles, and Tactics in Practice serves as a resource for lesson planning and exploration, and provides an encyclopedia of the best practices in the field today.
How to set effective work and personal goals, and how to achieve goals withing groups.
Good Strategy/Bad Strategy clarifies the muddled thinking underlying too many strategies and provides a clear way to create and implement a powerful action-oriented strategy for the real world. Developing and implementing a strategy is the central task of a leader. A good strategy is a specific and coherent response to—and approach for—overcoming the obstacles to progress. A good strategy works by harnessing and applying power where it will have the greatest effect. Yet, Rumelt shows that there has been a growing and unfortunate tendency to equate Mom-and-apple-pie values, fluffy packages of buzzwords, motivational slogans, and financial goals with “strategy.” In Good Strategy/Bad Strategy, he debunks these elements of “bad strategy” and awakens an understanding of the power of a “good strategy.” He introduces nine sources of power—ranging from using leverage to effectively focusing on growth—that are eye-opening yet pragmatic tools that can easily be put to work on Monday morning, and uses fascinating examples from business, nonprofit, and military affairs to bring its original and pragmatic ideas to life. The detailed examples range from Apple to General Motors, from the two Iraq wars to Afghanistan, from a small local market to Wal-Mart, from Nvidia to Silicon Graphics, from the Getty Trust to the Los Angeles Unified School District, from Cisco Systems to Paccar, and from Global Crossing to the 2007–08 financial crisis. Reflecting an astonishing grasp and integration of economics, finance, technology, history, and the brilliance and foibles of the human character, Good Strategy/Bad Strategy stems from Rumelt’s decades of digging beyond the superficial to address hard questions with honesty and integrity.
In The Power of the Actor, a Los Angeles Times bestseller, premier acting teacher and coach Ivana Chubbuck reveals her cutting-edge technique, which has launched some of the most successful acting careers in Hollywood. The first book from the instructor who has taught Charlize Theron, Brad Pitt, Elisabeth Shue, Djimon Hounsou, and Halle Berry, The Power of the Actor guides you to dynamic and effective results. For many of today’s major talents, the Chubbuck Technique is the leading edge of acting for the twenty-first century. Ivana Chubbuck has developed a curriculum that takes the theories of the acting masters, such as Stanislavski, Meisner, and Hagen, to the next step by utilizing inner pain and emotions, not as an end in itself, but rather as a way to drive and win a goal. In addition to the powerful twelve-step process, the book takes well-known scripts, both classic and contemporary, and demonstrates how to precisely apply Chubbuck’s script-analysis process. The Power of the Actor is filled with fascinating and inspiring behind-the-scenes accounts of how noted actors have mastered their craft and have accomplished success in such a difficult and competitive field.
Mr. Arturi explaining to young people “The Content of the Book” Mr. Arturi: you will learn the technique that I and the great Hollywood actors mentioned on the cover and others use to create a character for a movie and how to enter to work in the world of movies without complications. This technique is used by these actors and approved by the audience. They briefly and partially describe their techniques in the program "Inside the Actors Studio" on Bravo Channel, where you can watch the videos at any time. I explain you the technique in a very easy way, with all the essential elements and many details that they don't mention. You learn to express the true feelings of your character in a movie, and not to fake them, screaming and/or with voluminous gestures as taught in many acting schools. You’ll learn the technique from A to Z; that is, A is when you start reading the book, and Z is at the end of your training when you'll be ready to act the protagonist in a professional movie. Guaranteed! THE WARRANTY While you are training, you can watch the interviews of the actors and verify if it's what they comment. You don’t need acting experience, just an inexpensive camcorder, the book and the desire to become a professional actor, that's it. My students say that the exercises are entertaining, fun and very easy to learn; you just read and shoot the practice scenes. The ideal is to make an acting / filming team; it takes 3 people, 2 in front of the camera and one shooting the scene and you go rotating positions. Also, I explain you an easy way to shoot scenes, as you see in the movies, that even a child can do it. Mr. Arturi adds: VERY IMPORTANT: my system allows you to learn the technique without a teacher, I give you the elements for self-control and correction; the "why" and "how" to do it is explained in the chapter "The John Travolta Test”. A student: What do I do after learning the technique? How do I become a professional actor? Mr. Arturi: In it I explain you the ESSENTIAL steps to enter the world of movies and be a successful actor; and MOST IMPORTANTLY, how to avoid the setbacks that inexperience could bring, and prevent you from spending years wandering and hoping for success. It takes years for new actors to gain the experience that you will gain in no time learning this technique. Mr. Arturi concludes: In my book you will not find stories, anecdotes, metaphors, unrelated issues or useless exercises to "entertain", which is what you find in most books on the same subject that authors use as "book fillers", and in acting schools as “hour fillers" for lack of a solid technique to teach. If you want or dream of being a professional actor, my book gives you all the elements to achieve it. Guaranteed! (But it’s up to you) Mr. Arturi’s challenge: find in the world an acting school or a book that offers 25% of the material contained in my book, you will not find it. Mr. Arturi: if you don't want to be a professional actor, but you would like to learn the technique, you can use it as the base of a game to play with friends, some of my students like to do, and they say it is a very funny game to play. Later your team will get in contact with other groups created in schools and universities to compete. This idea is developed in the chapter "My dream". Mr. Arturi’s conclusion: you learn the real Hollywood movie acting technique, save a lot of money, not waste years in acting schools or workshops, and you work as a professional actor in a short amount of time. Q: Why your book with such important content is so inexpensive? Mr. Arturi: I wrote it for various reasons: for my love to teaching, to young people and to movie acting, NOT TO MAKE MONEY; and also to help young people not to lose years in school and go into debt with creditors to pay courses, and for others to use the technique as a healthy fun game. Inside the book you have my email address to ask me questions
Experiential Theatres is a collaboratively edited and curated collection that delivers key insights into the processes of developing experiential performance projects and the pedagogies behind training theatre artists of the twenty-first century. Experiential refers to practices where the audience member becomes a crucial member of the performance world through the inclusion of immersion, participation, and play. As technologies of communication and interactivity have evolved in the postdigital era, so have modes of spectatorship and performance frameworks. This book provides readers with pedagogical tools for experiential theatre making that address these shifts in contemporary performance and audience expectations. Through case studies, interviews, and classroom applications the book offers a synthesis of theory, practical application, pedagogical tools, and practitioner guidance to develop a praxis-based model for university theatre educators training today’s theatre students. Experiential Theatres presents a holistic approach for educators and students in areas of performance, design, technology, dramaturgy, and theory to help guide them through the processes of making experiential performance.
Book of Sides II: Original, Two-Page Scenes for Actors and Directors is the second book in the Book of Sides series by Dave Kost, featuring original, two-page, two-character scenes for use in acting, directing, and auditioning classes. While shorter than the traditional three-to-six-page scenes commonly used in classes, Book of Sides II features longer scenes than the first Book of Sides with greater character development, more reversals, and stronger climaxes. Balanced, structured scenes designed specifically for educational use challenge both actors and directors equally with objectives, obstacles, tactics, and subtext; Two-page length is ideal for high-intensity exercises and faster-paced workshops; Printed in easy-to-read film-script format with plenty of room for notes; Scenes are completely original and unencumbered by copyright, so students may film and post legally on the internet; Universally castable, so all roles can be played by actors of any gender, appearance, skill level, or ethnicity; Accessibly-written for modern students, helping them to focus on the fundamentals of performance and directing; Simple and conducive to performing in a classroom without sets, costumes, or special props. This book was written by an educator for educators and designed for use in the classroom. Never search for scenes again!
Shakespeare and Tourism provides a dialogical mapping of Shakespeare studies and touristic theory through a collection of essays by scholars on a wide range of material. This volume examines how Shakespeare tourism has evolved since its inception, and how the phenomenon has been influenced and redefined by performance studies, the prevalence of the World Wide Web, developments in technology, and the globalization of Shakespearean performance. Current scholarship recognizes Shakespearean tourism as a thriving international industry, the result of centuries of efforts to attribute meanings associated with the playwright’s biography and literary prestige to sites for artistic pilgrimage and the consumption of cultural heritage. Through bringing Shakespeare and tourism studies into more explicit contact, this collection provides readers with a broad base for comparisons across time and location, and thereby encourages a thorough reconsideration of how we understand both fields.
This book is situated at the intersection of queer/gender studies and theories of acting pedagogy and performance. It explores the social and cultural matrix in which matters of gender are negotiated, including that of post-secondary theatre and drama education. It identifies the predicament of gender dissident actors who must contend with the widespread enforcement of realist paradigms within the academy, and proposes a re-imagining of the way drama/theatre/performance are practised in order to serve more fairly and effectively the needs of queer actors in training. This is located within a larger project of critique in reference to the art form as a whole. The book stimulates discussion among practitioners and scholars on matters concerning various kinds of diversity: of gender expression, of approaches to the teaching of acting, and to the way the art form may be imagined and executed in the early years of the 21st Century, in particular in the face of the climate crisis. But it is also an aid to practitioners who are seeking new theoretical and practical approaches to dealing with gender diversity in acting pedagogy.
Innovation & Digital Theatremaking introduces a blueprint for how to think differently about Theatre, how to respond creatively in uncertainty, and how to wield whatever resources are available to create new work in new ways. In 2020, the COVID-19 pandemic had a colossal impact on theatre across the world. At a time when even the wealthiest and best-supported theatre companies in the world ceased all operations and shuttered their stages, the theatre company The Show Must Go Online (TSMGO) forged its way into a new frontier: the highly accessible digital landscape of online performance. In this book, TSMGO creator Robert Myles and Valerie Clayman Pye explore the success of TSMGO from a practical standpoint, offering insights and strategies that can help theatremakers at every level respond proactively to the future of Theatre in the digital era. Each chapter addresses a different aspect of the creative process and concludes with take-homes so readers can learn how to innovate rapidly, undertake research and development in order to create their own models, and cultivate their own theatrical communities. Written for theatremakers, directors, producers, and creatives of all levels of experience, this book will help readers to think critically and creatively about theatre and theatre pedagogues to understand how to train their students for the theatre of the future.