Honest, witty and direct, The Golden Rules of Acting is every actor’s best friend – in handy paperback form.‘When auditioning, rehearsing or in a performance, take a risk – the worst that can happen is that you get embarrassed. You won’t die.’Easy to dip into, fully illustrated throughout, and designed to be both instructive and empowering, The Golden Rules of Acting won’t tell you how to act – but it will tell you how to be an actor.‘Always remember, the people auditioning you want you to be brilliant. They want you to solve their casting problem.'If you’re a working actor, drama-school student, someone who wants to become an actor, or simply someone who has a dream and wants to make it a reality, this book is for you.‘NEVER harmonise when singing ‘Happy Birthday’ – this has nothing to do with work, it’s just all actors do it & it’s bloody annoying.’Andy Nyman learnt the golden rules of acting the hard way, through twenty-five years of working in theatre, film and television. On stage, he co-wrote, co-directed and starred in the West End hit Ghost Stories, and won an Olivier Award for Best Entertainment for co-writing and directing Something Wicked This Way Comes with his regular collaborator Derren Brown. His many film appearances include Severance and Frank Oz’s Death at a Funeral.

    This edition contains the definitive versions of these works, a foreword in which Rabe examines the interwoven relationship of the plays, and an afterword in which he discusses the process of their construction.

    In Adventurer at Heart he shares his life story, and provides a compelling and unique insight into this remarkable pursuit.It takes a Tour de France cyclist about 90 hours of cycling, spread over three weeks with rest days, to complete the race. An adventure race, however, can take up to 160 hours of non-stop racing over as much as six days, with virtually no sleep or rest. To excel at this sport requires an elite level of skill in mountain running, mountain biking, kayaking, rafting and navigation but, above all, an almost superhuman capacity to endure suffering and pain.Part-Samoan, Nathan was raised in Nelson, and it was as a wayward adolescent that he discovered outdoor adventure. Since then he has never looked back, and has been a full-time adventurer working as an outdoor educator, the owner of multiple adventure-based businesses, and a professional athlete.Nathan’s career has taken him all over the world, and he has raced in the deserts of Africa, Mexico and the Emirates, the plains of Tibet and China, and the peaks and valleys of Nepal, Ecuador, Brazil, Patagonia, Russia, the European Alps, and New Zealand.Adventurer at Heart is a story of courage and perseverance, and of overcoming tremendous challenges. Nathan Fa’avae is an outstanding New Zealander, and this book is an inspiring account of what it takes to become a world champion.

    He will learn to face himself, to hide nothing from himself -- and to do so takes an insatiable curiosity about the human condition. from the Prologue Uta Hagen, one of the world's most renowned stage actresses, has also taught acting for more than forty years at the HB Studio in New York. Her first book, Respect for Acting, published in 1973, is still in print and has sold more than 150,000 copies. In her new book, A Challenge for the Actor, she greatly expands her thinking about acting in a work that brings the full flowering of her artistry, both as an actor and as a teacher. She raises the issue of the actor's goals and examines the specifics of the actor's techniques. She goes on to consider the actor's relationship to the physical and psychological senses. There is a brilliantly conceived section on the animation of the body and mind, of listening and talking, and the concept of expectation. But perhaps the most useful sections in this book are the exercises that Uta Hagen has created and elaborated to help the actor learn his craft. The exercises deal with developing the actor's physical destination in a role; making changes in the self serviceable in the creation of a character; recreating physical sensations; bringing the outdoors on stage; finding occupation while waiting; talking to oneself and the audience; and employing historical imagination. The scope and range of Uta Hagen here is extraordinary. Her years of acting and teaching have made her as finely seasoned an artist as the theatre has produced.

    Written by artistic directors Scott Graham and Steven Hoggett, The Frantic Assembly Book of Devising Theatre is the first book to reflect on the history and practice of this remarkable company, and includes:practical exercises essays on film, music and physical theatre inspiration for devising, writing and choreographing performance suggestions for scene development an anthology of Frantic Assembly productions an eight page colour section, and illustrations throughout.Accompanied by a companion website featuring clips of rehearsals and performances, this intimate and personal account offers an accessible, educational and indispensable introduction to the evolution and success of Frantic Assembly.

    Here, arranged in chronological order, are essays from 1918 to 1956, in which Brecht explores his definition of the Epic Theatre and his theory of alienation-effects in directing, acting, and writing, and discusses, among other works, The Threepenny Opera, Mahagonny, Mother Courage, Puntila, and Galileo. Also included is "A Short Organum for the Theatre," Brecht's most complete exposition of his revolutionary philosophy of drama.Translated and edited by John Willett, Brecht on Theater is essential to an understanding of one of the twentieth century's most influential dramatists.

    This account of his own famous productions is interspersed with anecdotes.

    Rodenburg has trained thousands of actors, singers, media personalities, lawyers, politicians, business people, teachers and students in the art of using their voice fully and expressively without fear. She has taught them how to breathe, how to support their breath, how to stretch their voice to meet any vocal effort and how to have total confidence in whatever they say--the right to speak.

    If you or someone you know is discontented, distressed, or downright disturbed, maybe the Great White North is right for you, eh. But how much do you really know about Canada? Can you do a job that Canada needs (do you play hockey, drill for oil, or make poutine?)? Can you identify the best Canadian province for your lifestyle (lots of tundra or just some tundra?)? Can you master the proper pronunciation of "sorry"? What strange wizardry is the Canadian government? Is maple syrup acceptable substitution for currency? At long last, How to Move to Canada can help make your vague threat into a cold Canadian reality. This book is also full of activities such as: Color the flag of your new homeland Match the strange Canuck dialect with their local definitions And more! PLEASE NOTE: This is a humor book. It won't really help you emigrate. Rather, it's a subversive mix of real information on the Great White North plus a hilarious look at all the reasons why you won't like it there any better — and why they probably won't have you anyway.

    As a record of Grotowski's theatrical experiments, this book is an invaluable resource to students and theater practioners alike.

    . . . It isn’t ‘second nature,’ it is ‘first nature.’”—Declan Donnellan This immensely popular and ever-practical book on acting takes a scalpel to the heart of actors’ persistent fears, helping them to release their talent on stage. It is straightforward and unpretentious, with a spirit of artistic and personal freedom.

    Tips on improvisational comedy.

    Macy and director Gregory Mosher. It is written for any actor who has ever experienced the frustrations of acting classes that lacked clarity and objectivity, and that failed to provide a dependable set of tools. An actor's job, the authors state, is to "find a way to live truthfully under the imaginary circumstances of the play'.' The ways in which an actor can attain that truth form the substance of this eloquent book.

    The text is full of tools for students and practitioners to use as they investigate plot, character, theme, exposition, imagery, motivation/obstacle/conflict, theatricality, and the other crucial parts of the superstructure of a play. He includes guides for discovering what the playwright considers the play’s most important elements, thus permitting interpretation based on the foundation of the play rather than its details.Using Hamlet as illustration, Ball assures a familiar base for illustrating script-reading techniques as well as examples of the kinds of misinterpretation readers can fall prey to by ignoring the craft of the playwright. Of immense utility to those who want to put plays on the stage (actors, directors, designers, production specialists) Backwards and Forwards is also a fine playwriting manual because the structures it describes are the primary tools of the playwright.