There is a two-year waiting list for his advanced acting classes. But now everyone–professionals and amateurs alike–can discover Moss’s passionate, in-depth teaching.Inviting you to join him in the classroom and onstage, Moss shares the techniques he has developed over thirty years to help actors set their emotions, imagination, and behavior on fire, showing how the hard work of preparation pays off in performances that are spontaneous, fresh, and authentic. From the foundations of script analysis to the nuances of physicalization and sensory work, here are the case studies, exercises, and insights that enable you to connect personally with a script, develop your character from the inside out, overcome fear and inhibition, and master the technical skills required for success in the theater, television, and movies.Far more than a handbook, The Intent to Live is the personal credo of a master teacher. Moss’s respect for actors and love of the actor’s craft enliven every page, together with examples from a wealth of plays and films, both current and classic, and vivid appreciations of great performances. Whether you act for a living or simply want a deeper understanding of acting greatness, The Intent to Live will move, instruct, and inspire you.From the Hardcover edition.

    Here she tells her story.

    to LondonOCothe professional dancer's extraordinaryajourney to the glitzy world of ballroomWith his slick moves, calm demeanor, and brooding good looks, Pasha Kovalev has becomeaa senation as a popular dancer. His talent and determination have taken him around the world, but as he shares here, it was the stark, grey landscape of his Siberian hometown, still reeling from the Communist regime, which provided the unlikely inspiration for his early love of ballroom dancing. With a strongadesire to succeed, he moved to theaU.S. in 2001awith his professional dance partner Anya Garnis and settled in Fort Lee, New Jersey.aHe auditioned for seasonathree of "So You Think You Can Dance "in 2007, amoved to L.A. in 2008, aand heahas since participated in all following seasons as either a choreographer or an All Star. Froma2009-2011ahe joined the cast of Jason Gilkison's production "Burn the Floor," one of the leading ballroom based shows in the world, during its stint on Broadway. In September 2011, Pasha joined the BBC's "Strictly Come Dancing" as the new professional dancer of the ninth season, abeing partnered in the 10th season with Girls Aloud star Kimberley Walsh. He speaks candidly in this heartwarming autobiography, on topics from romance to body image to the illness that nearly killed him. Most of all, he gives readers a glimpse behind the scenes of the flashy world of ballroom, and what really goes on beneath the veneer of sparkles and glamour."

    One of the best-known and best-loved singing voices in the world, Nixon dubbed songs for Natalie Wood in West Side Story, Audrey Hepburn in My Fair Lady, and Deborah Kerr in The King and I. She was the voice of Hollywood’s leading ladies, arriving in filmland after a debut with the Los Angeles Philharmonic at 17 and continuing her career with Leonard Bernstein, Aaron Copland, Charles Ives, Stephen Sondheim, Rogers and Hammerstein, and many others. Her inspiring autobiography reveals Nixon as a singer, an actress, and a woman fighting for artistic recognition. Today, a survivor of breast cancer, she works on Broadway and television’s Law & Order SVU, tours with her own stage show, and teaches master classes in voice. I Could Have Sung All Night reveals the woman behind the screen in a frank, funny biography that is as remarkable as the woman whose story it tells.

    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.

    His career has spanned more than half a century, his lyrics have become synonymous with musical theater and popular culture, and in Finishing the Hat—titled after perhaps his most autobiographical song, from Sunday in the Park with George—Sondheim has not only collected his lyrics for the first time, he is giving readers a rare personal look into his life as well as his remarkable productions.Along with the lyrics for all of his musicals from 1954 to 1981—including West Side Story, Company, Follies, A Little Night Music and Sweeney Todd—Sondheim treats us to never-before-published songs from each show, songs that were cut or discarded before seeing the light of day. He discusses his relationship with his mentor, Oscar Hammerstein II, and his collaborations with extraordinary talents such as Leonard Bernstein, Arthur Laurents, Ethel Merman, Richard Rodgers, Angela Lansbury, Harold Prince and a panoply of others. The anecdotes—filled with history, pointed observations and intimate details—transport us back to a time when theater was a major pillar of American culture. Best of all, Sondheim appraises his work and dissects his lyrics, as well as those of others, offering unparalleled insights into songwriting that will be studied by fans and aspiring songwriters for years to come. Accompanying Sondheim’s sparkling writing are behind-the-scenes photographs from each production, along with handwritten music and lyrics from the songwriter’s personal collection. Penetrating and surprising, poignant, funny and sometimes provocative, Finishing the Hat is not only an informative look at the art and craft of lyric writing, it is a history of the theater that belongs on the same literary shelf as Moss Hart’s Act One and Arthur Miller’s Timebends. It is also a book that will leave you humming the final bars of Merrily We Roll Along, while eagerly anticipating the next volume, which begins with the opening lines of Sunday in the Park with George.

    His experience as founder of the acclaimed Annoyance Theatre/Annoyance Productions, as well as Resident Director and Artistic Consultant for The Second City, has led him to continually question why and how scenes work or don't work and what one must do in order for a scene to be successful.In this book, Napier takes an irreverent, but constructive look at the art and practice of improvised scenes. He covers such topics as: two-person scenes group scenes entering scenes techniques to achieve richer, more layered scenes auditioning solo exercises for practice at home. Napier also challenges the conventional wisdom of the "rules" of improvisation, examining what's behind them and how they came to be in the first place.Get helpful, tangible guidelines for bringing strength and direction to your scenes. Just "Improvise."

     She was a gifted midwestern beauty, the daughter of Ohio State University's marching band director: to dance on Broadway. Soon after high school graduation, Catherine left Columbus for New York City, determined to be a star. Three years later, she was dead -- murdered in cold blood in her East Side apartment. The shocking revelations that emerged from the police investigation made tabloid headlines: few knew that the struggling artist paid her bills by dancing in a topless club. But there was another hidden facet to Catherine's life -- a shattering love triangle with two men, one of whom would ultimately be convicted of her brutal stabbing death. It's a chilling account of obsession, violence, and the surprising, minute evidence on which the entire case hinged. For a talented young woman reaching for the top, and the heartbroken family she left behind, it is truly the death of a dream.

    Carey's lively thought, lucid style, and profound scholarship propel the reader through a wide and varied intellectual landscape, particularly as these issues have affected Modern American thought. As entertaining as it is enlightening, Communication as Culture is certain to become a classic in its field.

    What's hiding behind those curtains on the stage? How does a huge set appear so quickly between scenes? Just two of the many questions answered in this visual compendium.

    And what a life! By one of today’s greatest living actors.He was born a Canadian on a Friday the thirteenth in 1929—the year of the Crash. His boyhood was one of privilege: an ancestor was a Governor General; his great-grandfather Sir John Abbott was Canada’s third prime minister and owned railroads. There were steam yachts, mansions, and a life of Victorian gentility and somewhat cluttered splendor.Plummer tells how “this young bilingual wastrel, incurably romantic, spoiled rotten, tore himself away from the ski slopes to break into the big bad world of theatre, not from the streets up but from an Edwardian living room down,” and writes of his early acting days as an eighteen-year-old playing the lead in Shakespeare’s Cymbeline, directed by the legendary Komisarjevsky of Moscow’s Imperial Theatre.We see his glorious New York of the fifties, where life began at midnight, with the likes of Arthur Miller, Carson McCullers, Tennessee Williams, and Paddy Chayefsky, and how Plummer’s own Broadway world developed and swept him along through the last Golden Age the American Theatre would ever remember . . . how the sublime Ruth Chatterton (“she might have been created by F. Scott Fitzgerald and Sinclair Lewis”) introduced him to the right people in New York . . . how Miss Eva Le Gallienne gave Plummer his Broadway debut at twenty-five in The Starcross Story (“It opened and closed in one night! One solitary night! But what a night!”). He writes about Miss Katherine Cornell (the last stage star to travel by private train), who, with her husband, Guthrie McClintic, added to what experience Plummer had the necessary gloss, spit, and polish to take him to the next level. Guthrie bundled Plummer off to Paris for a production of Medea, opposite Dame Judith Anderson (“a little Tasmanian devil . . . who with one look could turn an audience to stone”).Plummer writes about the great producers with whom he worked—Kermit Bloomgarden, Robert Whitehead, and Roger Stevens—about Lillian Hellman, Leonard Bernstein, Elia Kazan (“If you weren’t careful, this chameleon of chameleons might change into you, wear your skin, steal your soul”), and the miracle that was the new Stratford Festival in Canada, where Plummer blossomed in the classics under the extraordinary Tyrone Guthrie. He writes about his (too brief) encounters with his favorite geniuses, Orson Welles and Jonathan Miller. He writes about his lifelong friendships with Raymond Massey and the wild Kate Reid, and with that fugitive from the Navy, “that reprobate and staunch drinking buddy, the true reincarnation of Eugene O’Neill, whose blood was mixed with firewater,” Jason Robards, Jr.Plummer writes about his affairs and his marriages, and about his daughter, Amanda, who “despite her slim looks and tiny bones could raise tempests, guaranteed to loosen the foundation of any theatre in which she chose to rage.”We see him becoming a leading actor for Peter Hall’s Royal Shakespeare Theatre, with a company of young talented players, each destined for stardom—Judi Dench, Vanessa Redgrave, Peter O’Toole, et al., collectively the future of the English stage. The old guard was brilliantly represented by Dames Edith Evans and Peggy Ashcroft and Sir John Gielgud. Plummer, the only fugitive from the New World, played Richard III, Benedick, and Henry II in Becket.He writes about his film career: The Sound of Music (affectionately dubbed “S&M”) . . . Inside Daisy Clover, which brought him together with the beautiful Natalie Wood . . . John Huston’s The Man Who Would Be King (Plummer was Rudyard Kipling). He tells the story of accepting Sir Laurence Olivier’s invitation to join the National Theatre Company, playing in Amphytron directed by Olivier himself (“a great actor but lousy director”), and writes about falling deeply in love with and eventually marrying a young actress and dancer, Elaine Taylor—to this day, his “one true strength.”Seamlessly written, with stories that make us laugh out loud and that make real the fascinating, complex, exuberant adventure that is the actor’s (at least this actor’s) life.

    In Hunting for Hope he sets out to gather his own reasons for facing the future with hope, finding powers of healing in nature, in culture, in community, in spirit, and within each of us.

    Wasting no time, they bought an army tank and equipped it with a techno sound-system, caused national security alerts with 60-foot inflatable monsters, went into the Colombian jungle with armed Guerrilla fighters, and drew up plans to convert an aircraft carrier into a nightclub.Yet SFA's crazed adventures only tell half the story. By mixing up electronic beats, surf rock, Japanese culture and more, the band recorded some of the most acclaimed albums of the millennium, all the while documenting the mobile phone revolution in their uniquely surreal way.Written with the band’s own participation and housed in a jacket designed by Pete Fowler, the man behind some of SFA’s most iconic album covers, this is the remarkable story of their ascent to fame.

    The party that he and his brother Darren have been planning has been brought forward - to tonight.In a lawless, ravaged city, where memories of the past have been brutally erased, the boys and their team survive by realising their clients' darkest fantasies. But just how far are they prepared to go in trading humanity for information? As the light fades and events spiral out of control it becomes clear that on the success of the evening hangs not just their security, but their existence. The world is at its worst?let the party begin. Mercury Fur is a challenging new work containing some explicit scenes that may cause offence.Published to tie-in with the play's premier at the Drum Theatre, Plymouth and The Chololate Factory, London in February 2005, produced by Paines Plough."Philip Ridley is a singular writer, a prolific polymath, probably a genius, and the creator of some of the most peculiar, grotesque and compelling British plays (and films) of the last several years" Time Out

    And how these oppressive systems have bled into the fashion industry and its lack of diversity and equality. She will also reveal how we spend our money and whose pockets it goes into and whose it doesn't (clue: the people who do the actual work) and will tell her story of how she came to learn the truth. In the second 'unlearning' half of the book, she will help you to understand the uncomfortable truth behind why you consume the way you do. She asks you to confront the sense of lack you have, the feeling that you are never quite enough and the reasons why you fill the aching void with consumption rather than compassion. And she makes you challenge this power disparity, and take back ownership of it. The less you buy into the consumer culture the more power you have. CONSUMED will teach you how to be a citizen not a consumer.