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The camera enables us to see right into a character's soul, revealing his or her innermost thoughts and emotions. Screen acting requires a more rigorously truthful and spontaneous performance than the stage, as well as very different technical expertise. From Stage to Screen is a handbook for the professional actor packed with advice on how to make the transition and fully prepare for a TV or film role. The book is divided into three sections: the first examines the relationship between the actor and the camera and how it differs from that of a performer with a stage audience; the second addresses the technical skills the screen actor needs in order to work as part of a large collaborative team and 'make the shot work'; and the third explores the very different experience of an actor working on a screen project, including getting the job, how to prepare properly, what to expect and how to manage the whole process, from casting through to ADR, in order to deliver the very best work.
(source: Nielsen Book Data)

• Introduction
• Learn your lines
• Learn your blocking
• Warm up
• Listen
• Rehearse
• Stay in the room
• Why are you here?
• Perform
• Conclusion.

• Towards the end of the day
• Twilight
• A moment later
• That night
• Epilogue.

A provocative, highly engaging essay on the art of pretending on the stage, on screen, and in daily life Does acting matter? David Thomson, one of our most respected and insightful writers on movies and theater, answers this question with intelligence and wit. In this fresh and thought-provoking essay, Thomson tackles this most elusive of subjects, examining the allure of the performing arts for both the artist and the audience member while addressing the paradoxes inherent in acting itself. He reflects on the casting process, on stage versus film acting, and on the cult of celebrity. The art and considerable craft of such gifted artists as Meryl Streep, Laurence Olivier, Vivien Leigh, Marlon Brando, Daniel Day-Lewis, and others are scrupulously appraised here, as are notions of "good" and "bad" acting. Thomson's exploration is at once a meditation on and a celebration of a unique and much beloved, often misunderstood, and occasionally derided art form. He argues that acting not only "matters" but is essential and inescapable, as well as dangerous, chronic, transformative, and exhilarating, be it on the theatrical stage, on the movie screen, or as part of our everyday lives.
(source: Nielsen Book Data)

An essential guide for young people who want to work in the theatre - but aren't sure exactly what they want to do, or how to get to do it. Many young people are eager to experience the excitement and allure of working in theatre, but often this only goes as far as imagining themselves as actors, on stage in front of an audience every night. In reality, there are more jobs off the stage than on it. They can be every bit as rewarding as acting - and certainly more secure because there are invariably fewer people competing for each one. Using her expertise as Education and Training Editor for The Stage, Susan Elkin encourages aspiring theatre-makers and workers to look beyond acting to some of the other behind-the-scenes options available: playwriting, directing, producing, designing, stage management, administration, publicity, front-of-house, stage door...* She describes what each job entails and how you might achieve that role, including relevant courses and training opportunities offered in the UK. There are also numerous case studies of theatre professionals describing how they got where they are, and top tips for following in their footsteps. Written in a clear, no-nonsense style, this book is an ideal starting point for students considering a career in theatre, but also a useful tool for parents, teachers and career-advisers looking to learn more about the options open to interested young people. * And, for those of you who really must, the book does cover how to get into acting too.
(source: Nielsen Book Data)

In Then What Happens?, Mike Alfreds makes the case for putting story and storytelling back at the heart of theatre. He explores the whole process of adapting for the stage, and investigates the particular techniques - many of them highly sophisticated - that actors require when performing 'story-theatre'. The book includes over two hundred exercises, improvisations and workshops dealing with the practical aspects of story-theatre, such as building an ensemble, creating a physical vocabulary, and transforming written narrative into drama. It draws on examples ranging from traditional legends and folklore, through the works of Jane Austen, Charles Dickens and Evelyn Waugh, to contemporary fiction. Alfreds shows how each story demands its own particular set of dramatic choices, opening up endless possibilities for performance. Then What Happens - like the author's tremendously successful first book, Different Every Night - will be invaluable to directors and actors, to dramatists working in the field of adaptation, to those devising and working from improvisation, and to any theatregoer who has been moved by the power of an unfolding story to ask: 'Then what happens?'.
(source: Nielsen Book Data)

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 in just one volume? "The Acting Book" is an essential tool for aspiring actors, professionals, and educators.
(source: Nielsen Book Data)

• PART I: THE ACTOR.
• 1. Training Your Talent.
• 2. Approaching the Creative State.
• 3. Discovering Physical Actions.
• 4. Defining Simple Objectives.
• 5. Developing Your Powers of Observation.
• 6. Exploring Circles of Attention.
• 7. Investigating the Subconscious. PART II: THE ACTOR AND THE PLAY.
• 8. Creating a Character.
• 9. Interpreting the Lines.
• 10. Communicating the Subtext. PART III: THE ACTOR AND THE PRODUCTION.
• 11. Transforming into Character.
• 12. Preparing Undirected Scene Study.
• 13. Getting the Job. Endnotes. Bibliography. Index.
• (source: Nielsen Book Data)

Did you know that 'an actor must believe to make his audience believe?' This is the key concept behind "Acting is Believing". Authors Charles McGaw and Larry D. Clark have influenced thousands of actors, and Kenneth Stilson's update which includes new exercises and updated scripts bring modern relevance to the text. Inside, you'll learn the Stanislavski method and how to perfect using it, along with hundreds of other tips to help you be the flawless actor you are meant to be.
(source: Nielsen Book Data)

• Introduction: What is Acting? PART I: PREPARING MIND AND BODY Preparation: Relaxation, Concentration and Breathing Vocal and Physical Dynamics Personalizing: Sense and Emotion Memory PART II: PASSION AND INSPIRATION Secrets and Sources Physicalization and Analysis Through Action Actions and Six Basic Actions Improvisation and Jazz Acting PART III: PERFORMING THE ROLE Living Through and Interstitial Scenes Lying and Denial The Role: Psychological Gesture, Homework and Rehearsal Conclusion Bibliography Brief Biographies of Key Acting Teachers.
• (source: Nielsen Book Data)

This inspirational guide for advanced acting students brings together multiple ways of creating excellence in performance. David Krasner provides tried and tested exercises, a history of actor training and explores the complex relationships between acting theories and teachers. Drawing on examples from personal experience as an actor, director and teacher, An Actor's Craft begins with the building blocks of mind, body and voice, moving through emotional triggers and improvisation, to a final section bringing these techniques together in approaching a role. Each chapter contains accompanying exercises that the actor should practice daily. Combining theory and practice, this thought-provoking and challenging study of acting techniques and theories is for actors who have grasped the basics and now want to develop their knowledge and training further.
(source: Nielsen Book Data)

A practical guide to training as an actor, helping you get the most out of drama school - and survive in the world beyond. Are you thinking of applying to drama school?Do you have a place already and want to get the most out of your training?Are you seeking to make the best possible start in the world beyond drama school? "Becoming an Actor" takes you, step by step, technique by technique, through everything you can expect to encounter at drama school, and in your first year as a professional actor. Stuffed with exercises and full of practical advice, it is the ideal handbook to accompany your training. Thomasina Unsworth teaches at Rose Bruford College, one of the UK's leading drama schools. Here she shows what acting classes at an accredited drama school are actually like, and offers guidance and support through what is a critical time in any actor's career. With many different exercises to help actors explore the techniques they need to master, "Becoming an Actor" is also an invaluable resource for those teaching acting, and for those seeking to refresh their training.
(source: Nielsen Book Data)

• "Overture and Beginners... 9 The Actor Prepares... 16 The Brown Envelope... 26 How Do You Learn Your Lines?... 40 Theatres and Dressing Rooms... 46 Billing...59 The Actor and the Audience...63 Touring... 76 Television and Films... 80 Auditions...83 Sitcoms...86 TV Commercials and Voiceovers... 90 Actor or Celebrity (and getting older)... 94".
• (source: Nielsen Book Data)

• "Overture and Beginners The Actor Prepares The Brown Envelope How Do You Learn Your Lines? Theatres and Dressing Rooms Billing The Actor and the Audience Touring Television and Films Auditions Sitcoms TV Commercials and Voiceovers Actor or Celebrity (and getting older).
• (source: Nielsen Book Data)

"If you have ever set foot in a theatre you will enjoy this book. Leading actor, Peter Bowles, invites us backstage in the West End and on tour to witness the job of acting as it really is. Behind The Curtain is based on his own career as a leading stage and TV actor for over 55 years and is the inside scoop on 'the profession' as told by a master raconteur. This is a warm-hearted look at the lived experience of a jobbing actor - and a survival guide to anyone thinking of entering this most emotionally gruelling of industries. With wit and style he recounts his personal views on rehearsals, touring, drama school, working with directors and other actors, and audiences. Armed with an array of classic anecdotes, Bowles shares some of the infamous ad-libs, opening night disasters and dressing room dramas that he has been party to over the years. Full of sage advice about the pitfalls of celebrity and the fluctuating fortunes of an actor - and his own journey from TV stardom to the labour exchange and back again. With tales of some biggest personalities in the history of showbiz such as Michael Gambon, Noel Coward, Rex Harrison, Laurence Olivier & John Gielgud, this is a book that captures the acting profession in all its eccentric glory. ".
(source: Nielsen Book Data)

• Foreword by Zelda Fichandler Prologue: Hoodwinking Hamlet Part I In The World Introduction to Part I
• 1. Good Ground- The Givens of Rehearsal
• 2. The Four Week Gig - Act 1
• 3. The Four Week Gig - Act 2
• 4. A Creative Process - Six Approaches
• 5. Get Serious - Seven Ways
• 6. The Living Rehearsal - a 24/7 Gig Part II In The Room Introduction to Part II
• 7. Actor, Playwright -The Words Made Flesh
• 8. Actor, Director - In the Trenches
• 9. Actor, Designers - A Common Purpose
• 10. Actor, Dramaturges, Stage Managers and Fight Masters - A Big Tent
• 11. Shakespeare's Mountain - Poetic Language
• 12. Musical Theatre - An American Original
• 13. Film and Television - Less Is More Part III On Your Own Introduction to Part III
• 14. A Declaration of Independence -Your Own Creative Process
• 15. Techniques -Reading and Researching the Role
• 16. More Techniques - On Your Feet and In Your Sleep
• 17. The Understudy - The Readiness is All
• 18. How Professionals Break through - Actor's Block
• 19. Rehearsing Life - Fake it 'til You Make It Conclusion Good Night, Sweet Prince.
• (source: Nielsen Book Data)

In Rehearsal is a clear and accessible how-to approach to the rehearsal process. Author Gary Sloan brings more than thirty years' worth of acting experience to bear on the question of how to rehearse both as an individual actor and as part of the team of professionals that underpins any successful production. Interviews with acclaimed actors, directors, playwrights, and designers share a wealth of knowledge on dynamic collaboration. The book is divided in to three main stages, helping the reader to refine their craft in as straightforward and accessible manner as possible: *In the world: A flexible rehearsal program that can be employed daily, as well as over a typical four week production rehearsal. *In the room: Advice on working independently and productively with other members of a company, such as directors, playwrights, designers and technical crew; how your personal creative process varies depending on the role, be it Shakespeare, musicals, film, television or understudying. *On your own: Creating your own rehearsal process, exploring original and famous rehearsal techniques, breaking through actor's block and how to practice every day. In Rehearsal breaks down the rehearsal process from the actor's perspective and equips its reader with the tools to become a generous and resourceful performer both inside and outside the studio. Its independent, creative and daily rehearsal techniques are essential for any modern actor.
(source: Nielsen Book Data)

• "I WANT TO ACT 11
• 1. KNOW THY SELF 13
• 2. WHY TRAIN? 20
• 3. ACTING TRAINING 24
• 4. AUDITIONS 29
• 5. YOU GOT THE PART, NOW WHAT? TECHNIQUE 46
• 6. HOW TO DEVELOP A CHARACTER IN DEPTH 66 (i) OUTERS AND INNERS 67 (ii) PERSONALISATION / SUBSTITUTION / ENDOWMENT 81 (iii) OBJECTIVES / ACTIONS 90 (iv) SCRIPT BREAKDOWN / MAKING CHOICES 93 (v) SENSE MEMORY / AFFECTIVE MEMORY / EMOTIONAL MEMORY 101
• 7. CHARACTER PREPARATION 108
• 8. HOW TO REHEARSE 114
• 9. FINDING DIFFERENT TRUTHS 126 THE FINAL CURTAIN 131
• APPENDIX 134 (i) TRANSITIVE/ACTIVE VERBS 134 (ii) CHARACTERISTICS 139 (iii) in -depth Character /self Questions 140".
• (source: Nielsen Book Data)

"In-Depth Acting provides a comprehensive understanding of character, preparation, text, subtext and objectives. How to prepare for drama school and professional auditions How to develop a 3-dimensional, truthful character Preparation exercises to help you get in character Rehearsal guidelines An appendix of Transitive/Active Verbs and more 'A wonderful, succinct book that no student or professional actor should be without.' Jenny Lipman, LAMDA 'Dee Cannon's classes at RADA were legendary. An inspiring and intensely practical guide for anyone, at any stage of their acting life.' Eve Best 'This is the definitive version of the method I use to approach every role...How wonderful to finally have it all in book form!' Gemma Arterton 'Working with Dee and with this book I feel my process and preparation has been energized, activated and inspired' Ramin Karimloo ".
(source: Nielsen Book Data)

• "Preface 13 PART ONE: VOCAL REALISM
• Chapter 1 - Rhythm in Speech 18
• 1. Speech Rhythm: Separating the Elements 18
• 2. Speech Rhythm: Connecting the Elements 19
• 3. Speech Rhythm: Forming the Elements 19
• 4. Speech Rhythm: Analysing the Elements 21 a. Phrasing and Pausing 22 b. Stressing 27 c. Pitching and Tuning 34 d. Pacing 40
• 5. Revisiting the Basics 44
• Chapter 2 - Rhythm in Writing 45
• 1. Speaking and Writing: What's the Difference? 45
• 2. Rhythm in Writing: Analysing the Elements 51
• 3. Speaking Text Aloud: Phrasing and Pausing 57
• 4. Speaking Text Aloud: Stressing 59
• 5. Speaking Text Aloud: Pitching and Tuning 61
• 6. Speaking Text Aloud: Pacing 64
• 7. Practical Work 65
• 8. Revisiting the Basics 76 Notes 77 Suggested Reading 78 PART TWO: REALISTIC DRAMA
• Chapter 3 - Journeys, Demands and Challenges 80
• 1. Context 80
• 2. Realism vs Naturalism 81
• 3. The Rise of Realism: Plays and Playwrights 83 a. Early Influences 84 b. England 86 c. America 95 d. Australia 105
• 4. The Rise of Realistic Acting 114
• 5. Vocal Demands 116
• Chapter 4 - Creating Vocal Characterisation 120
• 1. Vocab Research 120
• 2. Rhythmic Research 122
• 3. Applying the Research 125
• 4. Text Samples 126
• 5. Workshop Plan 128
• 6. Revisiting the Basics 135 Text extract
• 1: Ivanov by Anton Chekhov/Tom Stoppard 127 Text extract
• 2: Ivanov by Anton Chekhov/Tom Stoppard 128
• Chapter 5 - Dealing with Dialogue/ 136 Revealing Relationships
• 1. Spoken Dialogue 136 a. Rhythmic Synchrony 136 b. Allo-repetition 137 c. Redundancy 138 d. Interrupted, Overlapped and Unfinished Speech 139
• 2. Written Dialogue 140
• 3. Text Samples 141
• 4. Workshop Plan 151
• 5. Revisiting the Basics 155 Text extract
• 1: The Lady From the Sea by Henrik Ibsen/Pam Gems 141 Text extract
• 2: A Streetcar Named Desire by Tennessee Williams 144 Text extract
• 3: Look Back in Anger by John Osborne 147
• Chapter 6 - Capturing the Colloquial 156
• 1. Accent Research 157 a. Source Material 157 b. Points of Tension and Sound Placement 158 c. Rhythm 158 d. Vowels and Consonants 159 e. Practice Sentences 160 f. The Play Text 161
• 2. Colloquial Research 161 a. Searching the Text 162 b. Pinpointing Meaning 163 c. Practising in the Accent 164
• 3. Text Samples 165
• 4. Workshop Plan 172
• 5. Revisiting the Basics 174 Text extract
• 1: Peaches by Nick Grosso 166 Text extract
• 2: Essex Girls by Rebecca Prichard 169
• Chapter 7 - Voicing the Verbatim 176
• 1. What is Verbatim Theatre? 176
• 2. Key Plays and Players 176
• 3. Verbal Features 178
• 4. Original Performances 180
• 5. Pre-rehearsal Research/Preparation 182 a. Understanding the Verbatim Process 182 b. Collecting Background Information 182 c. Analysing the Text 183
• 6. Text Samples 184
• 7. Workshop Plan 187
• 8. Revisiting the Basics 191 Text extract
• 1: Deep Cut by Philip Ralph 184 Text extract
• 2: Gladiator Games by Tanika Gupta 185 Text extract
• 3: Life After Scandal by Robin Soans 186 Notes 193 Suggested Reading 196 Suggested Viewing 200 PART THREE: NON-REALISTIC DRAMA
• Chapter 8 - Demands and Challenges 202
• 1. Distorting Realism 202 a. Time 202 PART ONE: VOCAL REALISM
• Chapter 1 - Rhythm in Speech
• Chapter 2 - Rhythm in Writing PART TWO: REALISTIC DRAMA
• Chapter 3 - Journeys, Demands and Challenges
• Chapter 4 - Creating Vocal Characterisation
• Chapter 5 - Dealing with Dialogue/Revealing Relationships
• Chapter 6 - Capturing the Colloquial
• Chapter 7 - Voicing the Verbatim PART THREE: NON-REALISTIC DRAMA
• Chapter 8 - Demands and Challenges
• Chapter 9 - Marrying the Realistic with the Non-Realistic
• Chapter 10 - Expressing the Absurd
• Chapter 11 - Talking in Verse ".
• (source: Nielsen Book Data)

"Modern Voice: Working with Actors on Contemporary Text has been designed to follow on from Catherine's previous book, Classic Voice: Working with Actors on Vocal Style, focusing on the less defined demands within contemporary drama. Lifting contemporary speech rhythms off the page can be a challenge for actors. Sometimes these rhythms are realistic, resembling or mirroring the speech patterns of real human beings, sometimes they are non-realistic, distorting speech patterns for particular effect. Modern Voice not only provides an accessible approach for understanding speech rhythm but also presents an overview of different types and styles of contemporary text (including the rise of dramatic realism in England, America and Australia). Along the way there are a myriad of practical ideas for directors, lecturers, teachers, trainers and coaches to explore in their workshops and rehearsals.".
(source: Nielsen Book Data)

• Contents
• Foreword by Martin Landau v Acknowledgments vii Preface "So Therefore" (a few words about my title) ix
• Part One: Warming Up
• Introduction x Relaxation x Concentration xx Imagination xx Beneath the Words xx Sensory Exercises xx Improvisations xx Animal Studies xx Life Studies xx Emotional Recall xx
• Part Two: Scene Work Character Analysis xx The Spine of the Play xx The Spine of the Character xx Your Objective in the Scene xx Actions in the Scene xx The As If xx Preparation xx Scenes xx
• Part Three: The Play Introduction xx Read the Play xx The Main Idea and Special Quality xx The Climax xx Character Analysis xx The Spine of your Character xx Rehearsals Begin xx Elements of Characterization xx The Use of Improvisations xx Blocking Sessions xx Detailed Work On Each Act xx Run-Throughs xx Dress Rehearsals xx Opening Night and Beyond xx
• Part Four: Stage versus Film
• Projecting versus Being xxx The Scene versus the Shot xxx Opposing Views xxx
• Part Five: Stamina, Luck, and Chutzpah, & Other Lessons Stamina, Luck, and Chutzpah xxx Remembering Lear xxx The Semi-Final Lesson xxx The Final Lesson xxx
• About the Author xxx References xxx.
• (source: Nielsen Book Data)

'Every scene or action or speech has a so therefore. It is the goal, the ultimate statement of the character. You should know the so therefore as you begin your scene ...The climax and the payoff is the so therefore.' - from Al Ruscio's Preface When working through a scene with a student, renowned actor and acting teacher Al Ruscio will ask, 'so therefore, what?' to urge them to capture the specific actions and desires that define their character at that moment. So Therefore...interweaves tried-and-tested practical exercises with sound advice, and illustrative tales from Ruscio's remarkable career, to form a training handbook as uniquely pragmatic as his favourite phrase. Breaking down his method into three broad focuses, Ruscio considers: *Warming Up - including relaxation, going 'beneath the words' and emotional recall; *Scene Work - ranging from character analysis to an exploration of action; *The Play - discovering its spine, progressing through rehearsals and sustaining a performance. But So Therefore...also reflects wisely on such diverse subjects as Stage versus Film, and Stamina, Luck and Chutzpah. Enriching and generous, it is the culmination of a career that has taken in dozens of major motion pictures, and spans the entire history of television - as well as half a century spent training actors. Al Ruscio graduated from the famed Neighborhood Playhouse School of the Theatre and has been teaching acting for five decades. He has served on the Board of Directors of the Screen Actors Guild and is a current voting member of the Academy of Motion Picture Arts and Sciences.
(source: Nielsen Book Data)

• Schauspieltheorie & Schauspielpädagogik : Diderot & Brecht. Das Sensibilitätsproblem; Die Paradoxie eines Vergleichs; Brechts Prämissen ; Naturhaftes Spiel ; Diderots Paradox als anthropologische Konstante; Die Möglichkeit von Sein auf der Bühne; Sein & Wahnsinn auf der Szene; Der Mord auf dem Theater; Sein : Sensibilité; Die geklärte Aporie; St. Albine & Riccoboni : Sensibilité oder Ratio?; Das Postulat synthetischen Handelns; Das Postulat synthetischen Handelns bei Brecht : Vorfühligkeit; Aneignung bei Diderot : zweckgebundene Beobachtung; Aneignung bei Brecht : zweckgebundene Beobachtung ; Das Spezifische der Spielweise bei Brecht; Das Postulat des besonderen Zwecks; Das Zeigen, das zeigt, daß es zeigt; Brechts Antwort auf Stanislawski & Strasberg; Die Legende von der restlosen Verwandlung ; Sinnliches Gedächtnis : Vorfühligkeit & Nachfühligkeit ; Die Illusion des ersten Mals ; Praxis : Sprechen; Die Gefühlsseite; Die Technikseite; Die Handlungsseite; Die Gefühls- & Verstandesseite; Kritik; Symbiose ; Der schauspielerische rational-mystische Prozeß ; Zusammenschau; Summary ; Kontexte ; Literatur
• The role of the narrating actor : theories of acting. Identification & distance ; Reason & feeling ; The main side of the contradiction ; Works cited
• Sachregister
• Personenregister
• Biographische Notiz.

• Preface. Abbreviations. Introduction.
• Chapter 1: A Brief History of Acting.
• Chapter 2: 'I Can Do That': Actor-Training.
• Chapter 3: 'You Got the Part!: Auditions.
• Chapter 4: 'Building a Character': Rehearsal Processes.
• Chapter 5: 'Another Opening, Another Show!': Performance Practices.
• Chapter 6: 'Passing the Baton': Eleven Executors of Acting. Glossary of Terms. Bibliography. Index.
• (source: Nielsen Book Data)

A practical and theoretical guide to the world of the professional actor, skilfully combining ideas from a range of practitioners and linking the academy to the industry. It covers key areas such as: * the development of modern drama and acting processes over the years * the approach and legacy of acting pioneers and practitioners from around the world * acting techniques and practicalities, including training, auditioning, rehearsing and performing - both for stage and camera Complete with a glossary of terms and useful website suggestions, this is the ideal introduction for anyone wanting to learn more about the practice of acting and the people who have advanced its evolution.
(source: Nielsen Book Data)

• Acting : the first six lessons
• The "creative theatre" lectures
• Boleslavsky lectures from the American Laboratory Theatre
• Notes on acting with Maria Ouspenskaya.

Acting: The First Six Lessons was first published in 1933 and remains a key text for anyone studying acting today. These dramatic dialogues between teacher and idealistic student explore the field of acting according to one of the original teachers of Stanislavsky's System in America. This new edition of an essential text is edited by Rhonda Blair and supplemented for the very first time with documents from the American Laboratory Theatre. These collect together a broad range of exciting unpublished material, drawn from Boleslavsky's pivotal and unprecedented teachings on acting at the American Laboratory Theatre. Included are: "The Creative Theatre Lectures" by Richard Boleslavsky Boleslavsky's "Lectures from the American Laboratory Theatre" "Acting with Maria Ouspenskaya, " four short essays on the work of Ouspenskaya, Boleslavsky's colleague and fellow actor trainer A new critical introduction and bibliography by the Editor.
(source: Nielsen Book Data)

What is good acting? How does one create believable characters? In "The Science of Acting", Sam Kogan applies his theories and teaching to answering these questions. It represents a comprehensive and complete technique applying neuroscience and psychology to the role of acting. At its heart lies a unique and groundbreaking understanding of the subconscious, as well as an unparalleled insight into, and expansion of, Stanislavski's original Russian teaching.The book includes chapters on Awareness, Purposes, Events, Actions, Imagination, Free Body, Tempo-Rhythm, and Laws of Thinking, culminating in the Ten Steps to Creating a Character. In addition to providing practical exercises to develop skill and definitions to clarify difficult terminology, it is a simple and original step-by-step guide to creating a character and to developing an actor's ability. In examining life and its recreation on stage, "The Science of Acting" is a study of human behavior and its application to acting which no actor or student of acting should be without.
(source: Nielsen Book Data)