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"Any student of acting must begin by reawakening his or her ability to play like a child. The Natural Actor focuses on stimulating this ability using simple, natural, easily understood techniques. First, students train their instruments: body, voice, mind, and spirit. The trained instrument is then used to practice the craft of acting through games, improvisation, and open scenes. Journal prompts encourage critical thinking about the learning process. Physical training is integrated into activities that develop the imagination and strengthen the ability to work with others. Aristotle observed that acting is an innate part of human nature. The Natural Actor gives students the emotional guidance and practical tools needed to rediscover that innate ability. The book is ideal for college-level performing arts classes. Written from a position of emotional sensitivity and abundance, The Natural Actor will help any student who wishes to release the actor within and explore the creative self." Mary Kate Caffrey received her MA in theatre from Northwestern University. She has taught undergraduate acting at a number of universities, community colleges, and conservatories on the East Coast. She is currently Professor of Communicative Arts at Massasoit Community College and Lecturer in Performing Arts at The University of Massachusetts, Boston. She has directed productions at numerous theatres in the New England area. Before becoming a founding member and Co-Artistic Director of Threshold Theatre, she was Artistic Director at the Triangle Theater and Education Director at the New Theater, both in Boston, MA.
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.
There is a sense that permeates most acting classes which promotes the idea that acting is hard and you need to do a bunch of traditional steps if you're ever going to get anywhere. The flame of this concept is kept lit for two reasons. One is tradition. Successful actors and teachers in our theatrical history supposedly believed in or espoused such ideas and two; it is easier for teachers and actors to follow a path that is well worn. Actors feel intimidated to challenge the ideas and teachings of past masters. But isn't that exactly how every field of endeavor evolves? Think of where we'd be in science or medicine or sports if no one questioned past methods or tried to discover new ones. This book will show you an approach that is direct and to the point, an approach that will be far easier to remember and utilize. We'll use real life. We call it acting only because people are watching. "If you're an actor, this book will restore your sanity." Steven Pressfield, Author: The War of Art, Turning Pro, The Legend of Bagger Vance
Focusing on the cultural history of modern movement training for actors, Evans traces the development of the ‘neutral’ body as a significant area of practice within drama school training and the relationship between movement pedagogy and the operation of discipline and power in shaping the professional identity of the actor.
This is a book about heroism - of sorts. Roy Hobbs has an immense natural gift for playing baseball. He could become one of the great ones of the game, a player unmatched in his time - a hero. But his first hard-won big chance ends violently, at the hands of a crazy girl, and then it is years before he gets another shot. At last, in a few short seasons, or never, he must achieve the towering reputation that he feels is his right.
Voskuil argues that Victorian Britons saw themselves as "authentically performative," a paradoxical belief that focused their sense of vocation as individuals, as a public, and as a nation.
For centuries the theatre has been one of the major forms of art. How did acting, and its institutionalization in the theatre, begin in the first place? In some cultures complex stories relate the origin of acting and the theatre. And over time, approaches to acting have changed considerably. In the West, until the end of the 19th century, those changes occurred within the realm of acting itself, focusing on the question of whether acting should be 'natural' or 'formal.' Approaches to acting were closely related to the trends in culture at large. Acting became more and more professional and sophisticated as philosophical theories developed and knowledge in the human sciences increased. In the 20th century, the director was established as the most important force in the theater--able to lead actors to pinnacles of their art which they could not have achieved on their own. Approaches to acting in non-Western cultures follow quite different patterns. This book provides a clear overview of different approaches to acting, both historical and contemporary, Western and non-Western, and concludes with a challenge to the future of the art.
Conklin's thesis is that the tradition of modern legal positivism, beginning with Thomas Hobbes, postulated different senses of the invisible as the authorising origin of humanly posited laws. Conklin re-reads the tradition by privileging how the canons share a particular understanding of legal language as written. Leading philosophers who have espoused the tenets of the tradition have assumed that legal language is written and that the authorising origin of humanly posited rules/norms is inaccessible to the written legal language. Conklin's re-reading of the tradition teases out how each of these leading philosophers has postulated that the authorising origin of humanly posited laws is an unanalysable externality to the written language of the legal structure. As such, the authorising origin of posited rules/norms is inaccessible or invisible to their written language. What is this authorising origin? Different forms include an originary author, an a priori concept, and an immediacy of bonding between person and laws. In each case the origin is unwritten in the sense of being inaccessible to the authoritative texts written by the officials of civil institutions of the sovereign state. Conklin sets his thesis in the context of the legal theory of the polis and the pre-polis of Greek tribes. The author claims that the problem is that the tradition of legal positivism of a modern sovereign state excises the experiential, or bodily, meanings from the written language of the posited rules/norms, thereby forgetting the very pre-legal authorising origin of the posited norms that each philosopher admits as offering the finality that legal reasoning demands if it is to be authoritative.
Since the first edition of The Actor in You was published a quarter-century ago, thousands of students have benefited from Robert Benedetti’s decades of experience educating some of the United States’ finest actors. In this Seventh Edition, Benedetti expresses the fundamental elements of acting in simple language, leading readers through understanding their own bodies and voices, acting technique, and the basics of rehearsals and staging shows. Each step includes exercises to aid students in self-discovery and self-development as they grow from novices into practiced actors.
This volume contains papers presented at the 7th International Conference on Modeling Decisions for Arti?cial Intelligence (MDAI 2010), held in Perpignan, France, October 27–29. This conference followed MDAI 2004 (Barcelona, C- alonia, Spain), MDAI 2005 (Tsukuba, Japan), MDAI 2006 (Tarragona, Cata- nia, Spain), MDAI 2007 (Kitakyushu, Japan), MDAI 2008 (Sabadell, Catalonia, Spain), and MDAI 2009 (Awaji Island, Japan) with proceedings also published in the LNAI series (Vols. 3131, 3558, 3885, 4617, 5285, and 5861). The aim of this conference was to provide a forum for researchers to discuss theory and tools for modeling decisions, as well as applications that encompass decision-making processes and information fusion techniques. The organizers received 43 papers from 12 di?erent countries, from Europe, Asia, Australia and Africa, 25 of which are published in this volume. Each s- mission received at least two reviews from the Program Committee and a few externalreviewers.Wewouldliketoexpressourgratitudetothemfortheirwork. The plenary talks presented at the conference are also included in this volume. TheconferencewassupportedbytheCNRS:CentreNationaldelaRecherche Scienti?que,theUniversit´ edePerpignanVia Domitia,theELIAUS:Laboratoire Electronique Informatique Automatique Syst` emes, IMERIR: Ecole d'Ing´ enierie Informatique et Robotique, the UNESCO Chair in Data Privacy, the Japan - cietyforFuzzyTheoryandIntelligentInformatics(SOFT),theCatalanAssoc- tionfor Arti?cialIntelligence(ACIA), the EuropeanSociety for Fuzzy Logicand Technology(EUSFLAT), the Spanish MEC(ARES—CONSOLIDER INGENIO 2010 CSD2007-00004).