Beginning with Quintilian and Delsarre he guides us to the present with an inside look at what is currently being taught in the major acting schools and private acting studios; The Actor's Studio, Yale University, NYU, Juillard and many more are visited. Great Acting Teachers and Their Methods will help you understand the most important ideas about acting, where they originated and how they are used in training programs today. Some of the teachers focused on are Stella Adler, Stanford Meisner, Lee Strasberg, Brecht, Stanislavsky, and Suzuki.

    Her boss made a pass at her and she said no so she got a pink slip with her check. Julie's broke and disillusioned, so she drinks and turns on the stereo full blast to make the pain go away. Then her roommate comes home in the midst of an eating frenzy; her boyfriend has gone back to his wife so Alice has turned to food to forget. Julie suggests another way to vent their man

    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.

    Any number of books preached persistence, but O'Neil was the first writer who actually told actors how to be persistent. The book is such a vital resource that it won a spot on "Entertainment Weekly"'s exclusive list of Industry Bibles.Now in this third edition, O'Neil updates his indispensable resource to keep up with the latest show-business trends and help you put control of your acting career where it belongs: in your own hands. You won't just read "Acting As a Business," Third Edition, you'll dog ear, underline, and bookmark it as you discover: a how-to guide to writing your theatrical resume - for both the East-Coast and the West-Coast actor specific examples of cover letters and other important correspondence practical ways to join the performer's unions tactics for getting an agent and finding out casting information well in advance tips on preparing for and answering the questions most often asked by agents in an interview - and what you should ask them techniques for auditioning in an agent's office the dos and don'ts of effective interview follow-up strategies for finding work in the theater, on soap operas, and in independent films a chart for recording which casting directors know your work an effective approach to interviewing a prospective personal manager a discussion of the "League" schools the best ways to make use of the internet.

    Stanislavski's simple exercises fire the imagination, and help readers not only discover their own conception of reality but how to reproduce it as well.

    In this her latest collection of essays she explores the story-telling impulse, and asks how she, as a product of postmodernism, can reconnect to the primal act of making meaning and telling stories. She also asks how theatre practitioners can think of themselves not as stagers of plays but orchestrators of social interactions and participants in an on-going dialogue about the future.We dream. And then occasionally we attempt to share our dreams with others. In recounting our dreams we try to construct a narrative... We also make stories out of our daytime existence. The human brain is a narrative creating machine that takes whatever happens and imposes chronology, meaning, cause and effect... We choose. We can choose to relate to our circumstances with bitterness or with openness. The stories that we tell determine nothing less than personal destiny. (From the introduction)This compelling new book is characteristically made up of chapters with one-word titles: Spaciousness, Narrative, Heat, Limits, Error, Politics, Arrest, Empathy, Opposition, Collaboration and Sustenance. In addition to dipping into neuroscience, performance theory and sociology, Bogart also recounts vivid stories from her own life. But as neuroscience indicates, the event of remembering what happened is in fact the creation of something new."

    A unique guided tour of the techniques of acting.

    Esper’s first book, The Actor’s Art and Craft, earned praise for describing the basics taught in his famous first-year acting class. The Actor’s Guide to Creating a Character continues the journey. In these pages, co-author Damon DiMarco vividly re-creates Esper’s second-year course, again through the experiences of a fictional class. Esper’s training builds on Sanford Meisner’s legendary exercises, a world-renowned technique that Esper further developed through his long association with Meisner and the decades he has spent training a host of distinguished actors. His approach is flexible enough to apply to any role, helping actors to create characters with truthful and compelling inner lives.

    Throughout these pages Meisner is delight--always empathizing with his students and urging them onward, provoking emotion, laughter, and growing technical mastery from his charges. With an introduction by Sydney Pollack, director of "Out of Africa" and "Tootsie," who worked with Meisner for five years."This book should be read by anyone who wants to act or even appreciate what acting involves. Like Meisner's way of teaching, it is the straight goods."--Arthur Miller"If there is a key to good acting, this one is it, above all others. Actors, young and not so young, will find inspiration and excitement in this book."--Gregory Peck

    As a Stanislavsky disciple and founder of her own highly esteemed acting conservatory, the extravagant actress was also an eminent acting teacher, training her students--among them Marlon Brando, Al Pacino, and Robert DeNiro--in the art of script interpretation. The classic lectures collected here, delivered over a period of forty years, bring to life the plays of the three fathers of modern drama: Henrik Ibsen, August Strindberg, and Anton Chekhov. With passionate conviction and shrewd insight, Adler explains how their plays forever changed the world of dramaturgy while offering enduring insights on society, class, culture, and the role of the actor. She explores the struggles of Ibsen's characters to free themselves from societal convention, the mortal conflicts that trap Strindberg's men and women, and the pain of loss and transition lyrically evoked by Chekhov. A majestic volume, Stella Adler on Ibsen, Strindberg, and Chekhov allows us to experience the work of these masters "as if to see, hear and feel their genius for the first time." (William H. Gass)

    It is at once the voicing of her exacting standards for herself and those she teaches, and an explanation of the means to the end. For those unable to avail themselves of her personal tutelage, her book is the best substitute." --Publishers Weekly "Uta Hagen's Respect for Acting is not only pitched on a high artistic level but it is full of homely, practical information by a superb craftswoman. crafts-woman. An illuminating discussion of the standards and techniques of enlightened stage acting." --Brooks Atkinson"Hagen adds to the large corpus of titles on acting with vivid dicta drawn from experience, skill, and a sense of personal and professional worth. Her principal asset in this treatment is her truly significant imagination. Her 'object exercises' display a wealth of detail with which to stimulate the student preparing a scene for presentation." --Library Journal"Respect for Acting is a simple, lucid and sympathetic statement of actors' problems in the theatre and basic tenets for their training wrought from the personal experience of a fine actress and teacher of acting." --Harold Clurman"Uta Hagen's Respect for Acting...is a relatively small book. But within it Miss Hagen tells the young actor about as much as can be conveyed in print of his craft." --Los Angeles Times"Uta Hagen is our greatest living actor; she is, moreover, interested and mystified by the presence of talent and its workings; her third gift is a passion to communicate the mysteries of the craft to which she has given her life. There are almost no American actors uninfluenced by her." --Fritz Weaver"This is a textbook for aspiring actors, but working thespians can profit much by it. Anyone with just a casual interest in the theater should also enjoy its behind-the-scenes flavor. Respect for Acting is certainly a special book, perhaps for a limited readership, but of its "How-To" kind I'd give it four curtain calls, and two hollers of "Author, Author --King Features Syndicate

    The first scene of the play is a conversation between two lovers, Tommy and Donna, who broke up some time earlier but who are obviously still attracted to each other. Donna is enraged because Tommy, a would-be artist, is now having an affair with her younger sister, but Tommy, stretched out on his recliner (which, apart from a refrigerator full of beer, comprises the entire furnishings of his spartan apartment), is seemingly unmoved by her harangue. In the second scene Donna visits her father, a once successful artist who stopped painting at the death of his wife, whom he had bullied and betrayed despite his professed love for her. Combative and complex (but also very funny) the father sits and drinks and eventually gives in to his daughter's demand that he force Tommy to marry her or beat him up. Then, in the third and final scene, the father and Tommy confront each other, with results that are sometimes menacing, sometimes antic, with a lively discussion about art and women eventually leading to a sort of tenuous truce—and a grudging recognition of the responsibility that love, in its various guises, imposes.

    With Fay Simpson’s help, actors can better analyze character, hear their inner bodies, dissect the self into layers of consciousness, and more.Engage your mind and your body in order to develop your characters fully. The Lucid Body technique breaks up stagnant movement patterns and expands your emotional and physical range. Through energy analysis, this program shows how to use physical training to create characters from all walks of life—however cruel, desolate, or neurotic those characters may be. Rooted in the exploration of the seven chakra energy centers, chapters include:Nonjudgmental MindAudible ExhaleMeditationWhat is a Chakra?The HeartThe ThroadThe CrownTaking Off the ArmorFinding Your PersonaAnd much more,This book offers you a way of thinking and a set of tools that can lead you through a process of self-examination that will help you release old physical and emotional habits in the hope of expanding your acting potential.

    She has spent her career on both sides of the auditioning process, both as an award-winning casting director who has worked with Harold Prince, Bernard Bertolucci, and James Ivory, and as an accomplished actor herself. In this highly informative and accessible book, Merlin provides everything the actor needs to achieve self-confidence and artistic honesty–from the most basic practical tips to an in-depth framework for preparing a part. Filled with advice from the most esteemed people in the business, such as James Lapine, Nora Ephron, and Stephen Sondheim, and charged with tremendous wisdom and compassion, this indispensable resource will arm the reader to face an actor's greatest challenge: getting the part.

    17 selections from the critically acclaimed musical about Alexander Hamilton which debuted on Broadway in August 2015 to unprecedented advanced box office sales. Our collection features 17 selections in piano/vocal format from the music penned by Lin-Manuel Miranda, including: Alexander Hamilton * Burn * Dear Theodosia * Hurricane * It's Quiet Uptown * My Shot * One Last Time * Satisfied * That Would Be Enough * Washington on Your Side * You'll Be Back * and more. Also includes a biography of Miranda.