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An aging actor, forced into retirement after a lifetime on the stage, decides he will create for himself a new life based on Rostand's immortal Cyrano de Bergerac. With the help of other actors, the actor's fantasy becomes true to life and the he is faced with a life or death choice.
In this provocative book by actor Kyle Secor (Homicide: Life on the Street, The Flash, Veronica Mars), you're invited on a wild ride into the unknown where the 'me' and the 'actor' are not all they appear to be. Where the freedom of acting without an actor and doing with a doer may be the unavoidable expression of Love. Not only for actors, but a book anyone might keep nearby as a reminder of just what is.
In The Death of the Actor Martin Buzacott launches an all-out attack on contemporary theatrical practice and performance theory which identifies the actor, rather than the director, as the key creative force in the performance of Shakespeare. Because actors are absent from the site of Shakespearean meaning, he argues, the illusion of their centrality is sustained only by a rhetoric of heroism, violence and imperialism.
"The study of acting should not begin with an exploration of feeling, perception, imagination, memories, intention, personalization, self-identification... or even performance—but physical action." Michael Lugering's The Expressive Actor presents a foundational, preparatory training method, using movement to unlock the entire acting process. Its action-based perspective integrates voice, movement and basic acting training into a unified approach. A wealth of exercises and diagrams guide the reader through this internationally taught program, making it an ideal step-by-step course for both solo and classroom use. Through this course, voice and body training becomes more than a simple skill-building activity – it is the central prerequisite to any actor training. This new Routledge edition has been fully updated, to include: A revised prologue, further discussing the historical and philosophical grounding of The Lugering Method A new introduction, with particular focus on the integrative nature of the method and how the book should be used. New developments, clarifications, and 12 new exercises. 6 new illustrative diagrams.
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
SYSMOD is an MBSE toolbox for pragmatic modeling of systems. It is well-suited to be used with SysML. The book provides a set of methods with roles and outputs. Concrete guidances and examples show how to apply the methods with SysML. * Requirements modeling * System Context * Use Cases * Functional, Physical, Logical and Product Architectures * Guidances how to create a SysML model * Full-fledged SysML example * Complete definition of a profile for SYSMOD This book is also available as an eBook at leanpub.com/sysmod.
A diverse collection of monologues featuring the voices of women through the ages Drawn from poetry, fiction, diaries, journals, and documents of public record, these selections, although not originally intended for theatrical or cinematic performances, offer unique dramatic opportunities for actors, speakers, students, or anyone interested in women’s studies. Stefan Rudnicki has brought together selections from well-known as well as obscure authors, providing a tremendous range of women’s perspectives from a variety of sources: poems by Elizabeth Barrett Browning, Emily Dickinson, Christina Rossetti, and Sappho, among others; passages from Mary Shelley’s journal, the diaries of Anais Nin, and the memoirs of Isadora Duncan; polemics from Mary Wollstonecraft and Joan of Arc, as well as Susan B. Anthony’s “On Woman’s Right to Suffrage”; and selections from the novels of Emily and Charlotte Bronte, Jane Austen, Ursula K. LeGuin, and others.
The Actor’s Survival Kit is required reading in Canadian theatre schools and is a constant resource for its many readers across the country. This fifth edition gives actors fresh research from today’s experience, new lists of Canada-wide contacts, and input from success stories. It speaks to a new generation of artists, giving them an up-to-date guide to the business of acting. The book addresses a range of new issues: performer websites, video self-production, and sending rmand networking on the Internet. It also takes a fresh look at old ones: agents, self-promotion, and work opportunities for women and minorities. The authors learn by constantly talking to emerging artists about the problems they face in the business in Canada. Often those conversations begin with, "You wrote the book!" The authors are still receiving thanks from grateful artists who have been guided by this irreplaceable book over the years.
Full of illuminating anecdotes and witty accounts, this is the first English translation of Chekhov's two-volume autobiography. Two leading Russian scholars present an extensive and authoritative account of this great actor and extraordinary man.