The Actor Uncovered is certainly not a set of rigid rules advocating one ?method” or one singular ?truth.” Departing from the common guidebook format, Michael Howard uses a unique approach to teaching
This work gives an 'inside' view of Chinese theatre and the actor in performance. In doing so it also challenges Western theatre artists such as Brecht, Grotowski, Barba and Schechner, who have extracted from Chinese theatre elements which might enrich their own theatres. Jo Riley writes from her personal observations of, and dialogue with, Chinese actors and her first-hand experiences of the theatre world of China in general, none of which was possible before 1980. She uses not only jingju (so misrepresented as Peking opera) but also exorcism, puppet theatre and ancient animation rites at the tomb to provide models for exploring the process of creating presence on the Chinese stage. Her study is well illustrated with photographs and diagrams and is accessible to anyone interested in theatre, even those with no knowledge of Chinese or Chinese theatre.
The European Commission supported a projected titled "The EU as a Global Actor: A European Way to Creating Global Public Goods through Partnerships and Rule-Based Multilateral Institutions," and this
WITH AN IRREPRESSIBLE TASTE for adventure, candor, and a vivid sense of place, award-winning travel writer and actor Andrew McCarthy takes us on a deeply personal journey played out amid some of the w
For thousands of years, in traditional societies around the world, actors were seen as the guardians of intuitive wisdom, and the way of the actor was a path to knowledge and power. Brian Bates believ
The third of John Abbott's essential guides to acting introduces young actors to the best performance techniques, old and new. What more can any aspiring actor want than a three-year course presented
The personal diaries of the renowned actor and glamorous celebrity describe his life from 1939 to 1983 and his struggles with his weight, drinking, and jealousy when other men looked at the love of hi
When Natalie?s dad is nominated for a Best Actor Oscar, she flies to L.A. for the week, where she plans on hanging out with Tori and also taking her to the Oscars. But when Natalie hits it off with To
In this work, Rosenberg insists again and again that only the individual reader or actor can determine Shakespeare's design of Hamlet's characterand of the play. To interpret Hamlet's words and action
"a work on the art and craft of comedy as important in its own way as works by Stanislavski and Chekhov" – Oxford Theatre CompanionIn 1939, a young, inexperienced actor wrote to a famous actress of hi
"a work on the art and craft of comedy as important in its own way as works by Stanislavski and Chekhov" – Oxford Theatre CompanionIn 1939, a young, inexperienced actor wrote to a famous actress of hi
A young actor at the Globe Theatre must defend his master when Queen Elizabeth suspects that Shakespeare tried to help the Earl of Essex overthrow her.
For the Renaissance, all the world may have been a stage and all its people players, but Shakespeare was also an actor on the literal stage. Meredith Anne Skura asks what it meant to be an actor in S
Eynat-Confino goes beyond the usual consideration of Craig’s purported theories of the actor, scenery, and the scene painter to get at the heart of Craig’s idea of theater.?She draws not only on the r
"A how-to guide, full of classroom exercises … the book, which is meant to be used by students and instructors alike, is a wild success--the writing is clear, and the solid, down-to-earth exercises un
The Expressive Body looks at intentional and unintentional movement and gesture as they inform characterization, and how those factors can be used by the actor to enhance performance.
The Actor, Image and Action is a 'new generation' approach to the craft of acting; the first full-length study of actor training using the insights of cognitive neuroscience. In a brilliant reassessme
Nora Johnson's study of actors who wrote plays in early modern England uncovers important links between performance and authorship. The book traces the careers of Robert Armin, Nathan Field, Anthony Munday and Thomas Heywood, actors who were powerfully interested in marketing themselves as authors and celebrities; but Johnson contends that authorship as they constructed it had little to do with modern ideas of control and ownership. Finally, the book repositions Shakespeare in relation to actors, considering Shakespeare's famous silence about his own work as one strategy among many available to writers for the stage. The Actor as Playwright provides an alternative to the debate between traditional and materialist readers of early modern dramatic authorship, arguing that both approaches are weakened by a reluctance to look outside the Shakespearean canon for evidence.
