Directing the Action: Acting and Directing in the Contemporary Theatre (Applause Acting Series) Review

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(More customer reviews)I'm reading this book now for the second time. Charles Marowitz has an interesting style of writing, the kind that you have to stop and think about it for a little while every other page or so. I often go back and re-read some sentences just to make sure I fully understood the whole meaning and the context. It's a very professional view on theatre in all it's aspects. It's not usual to find an author that does not mind sharing his point of view and breaking taboos (I like the way he disagrees with Method acting in some aspects ). This book has helped me in my work as an actor and director.

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Every actor and director who enters the orbit of Marowitz's major work will find himself challenged to a deeper understanding of his art and propelled into further realms of exploration on his/her own. Marowitz meditates on all the sacred precepts of theatre practice including auditions, casting, design, rehearsal, actor psychology, dramaturgy, and the text.

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The Actor and the Text (Applause Acting Series) Review

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(More customer reviews)Cicely Berry, Voice Director of the Royal Shakespeare Company, has written an exemplary book for actors, particularly those performing works by Shakespeare.She somehow finds the words that express the elusive feel for Shakespeare's language that any good Shakespearean actor must develop.Her descriptions, examples and exercises provide a comprehensive training program for actors that recreates the work she has done with some of the world's great Shakespearean actors of our day: an essential book.

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These words of Cicely Berry, the voice director of the Royal Shakespeare Company, speak to anyone who needs to speak his or her piece - in any arena, at sales meetings or religious revivals. Berry's book will insure that the speaker and the text gets heard - accurately and with true emotional range. Never again will one be accused of simply "reading a prepared statement." Berry's exercises to develop relaxation, breathing and muscular control will literally help everyone breathe easier when confronting the printed page.

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The Art of Acting Review

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(More customer reviews)This great book has a quick and enthusiastic Introduction by former student Marlon Brando, and then consists solely oftranscripts ofcogent and thought-provoking lectures ofthe legendary and revered acting teacher Stella Adler (1901-1992).Howard Kissel has compiled, or possibly combined, tapes in order to come up with these "classes," or chapters.
Adler was an eloquent and reverentialphilosopher of acting, a teacher and acting coach extraordinaire of Brando, de Niro, Warren Beatty, Harvey Keitel, Candice Bergen, and many more. As a young, serious actress she had traveled to Paris, in order to study with Konstantin Stanislavsky, founder of "Method" acting. She was his only American student. She brought his philosophy back to the US, but added her own considerable beliefs to it.She cautions students: "Don't read his book, because it makes absolutely no sense. He came from a culture entirely alien to yours, and you won't understand it."
The twenty-two classes are seemingly presented verbatim. Each 'class' forms a chapter, and has a named subject as its organizing principle.("Acting is Doing," "Developing the Imagination," Building a Vocabulary of Actions," "Understanding the Text," Dressing the Part," "Instant and Inner Justifications," etc.) Each class is clear, thoughtful and thought-provoking, and wonderfully stimulating. Adler focuses on meaning and the soul of the thing - at all times. In addition, she is delightfully concrete, so you are never lost in well-meaning platitudes.
Right off the bat, you are educated as to why acting is not a cousin to, for example,fashion modeling. Adler is blunt, and supports her assertions. Acting has nothing to do with being "discovered," it is not about fame or celebrity.She bemoans the loss of the theater companies of mid-century, and the opportunities they provided to actors, who are now left to 'go it alone.'
To Adler acting is a labor of intelligence and will and love, a "profession that is over 2000 years old"and one that requires boundless energy and a sort of selfish (but not narcissistic) ambition first, and then "critical seeing, self-awareness, discipline, and self-control" - for starters. She talks about the importance to an actor of the use of one's imagination, the disciplined willingness to actually do the research -in order to care deeply and conscientiously about the play. She asserts, "A great disservice was done to American actors when they were persuaded that they had to experience *themselves* on the stage instead of experiencing the play. Your experience is not the same as Hamlet's - unless you too are a royal prince of Denmark. The truth of the character isn't found in you but in the circumstances of the royal position... [to play the role] your past indecision on who to take to the prom won't suffice."
This book is stimulating, uplifting, thought-provoking, and deep. You do not have to be interested in 'doing' acting in order to enjoy her wisdom. Worth reading, and rereading.

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Michael Caine - Acting in Film: An Actor's Take on Movie Making (The Applause Acting Series) Revised Expanded Edition Review

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(More customer reviews)If you like movies, this book is a great read. If you're interested inacting in movies, it's an essential read. If you're interested inmoviemaking (behind the camera), it's still an essential read: buy extracopies to pass around on the set, especially if you're a strugglingfilmmaker and you have a cast of friends who've never acted before.
As ateacher, Caine is as straightforward as he is as an actor. You watch hisperformances and you're seeing an actor who understands that less is more.You read this book and you're listening to an instructor who understandsthe same thing. Every anecdote he tells about films he's been in and starshe's worked with is not just namedropping, it's ALWAYS relevant to whateverhelpful point he's making about the craft of film acting. And to him it isvery much a craft, not an art. The art takes care of itself; it happensmysteriously, but it can only happen if you nail the craft first. Noarty-flighty book about acting theory or the Method, this is aworking-class, meat-and-potatoes manual that anyone can relate to, muchlike its author.

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A master actor who's appeared in an enormous number of films, starring with everyone from Nicholson to Kermit the Frog, Michael Caine is uniquely qualified to provide his view of making movies. This new revised and expanded edition features great photos throughout, with chapters on: Preparation, In Front of the Camera - Before You Shoot, The Take, Characters, Directors, On Being a Star, and much more."Remarkable material ... A treasure ... I'm not going to be looking at performances quite the same way ... FASCINATING!"- Gene Siskel

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The 16-Bar Theatre Audition: 100 Songs Excerpted for Succesful Auditions (Vocal Collection-Baritone/Bass) Review

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(More customer reviews)This is a great audition resource, as it not only has the songs already broken down into audition-ready length, but it also includes a wide variety. There are pieces from shows old and contemporary. And although some of the music goes a bit over 16 bars, this is generally nto a big deal. It's maybe two-four bars over. Directors are typically more concerned with your voice than PRECISE bar count. These selections keep it close, though.

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Most large audition calls for musical theatre, both professionally and in larger school situations, specify that those auditioning bring in a "16 bar" excerpt. The professionals in musical theatre often complain that singers don't know how to construct an appropriate 16 bar audition, either in choosing a song or in editing an excerpt. With this new series, that problem is solved forever! Editor Michael Dansicker, a composer/producer/music director, is a seasoned musical theatre veteran, with 100 Broadway credits. He brings his expertise and broad knowledge of the literature to this series. Each excerpt has been given a thoughtful, graceful and effective form. No more illegible scribblings for the poor audition accompanist! An enormous variety of literature is represented, from old standards to movie songs to the latest Broadway and Off-Broadway material. With 100 songs per volume, any singing actor, whatever his or her talents and strong suits, will have many choices. In the preface, the editor gives valuable pointers on the nature of a good audition and some factors in choosing songs.

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The Alchemy of Theatre - The Divine Science: Essays on Theatre and the Art of Collaboration (Applause Books) Review

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(More customer reviews)Although Edward Albee says, 'No one collaborates with me on a play,' he is wrong. The theater, is built on collaboration. Maybe Mr. Albee writes the play, and maybe he is insistent that the play be performed exactly as he wrote it, but the actions, the sets, the dance steps, the lighting all come from other people. Like a sports team, an army or a corporation it takes a bunch of people to pull it off.

In this book, 28 of Broadway's best write essays on collaboration. The essays are broken down into four general categories:

Part I - Pen to Paper -- Playwrights, Composers, Liberettists, the people who write what's going to become the play.

Part II - Captains -- Theatre Owner, Producer, Director, Casting, Stage Manager.

Part III - Actor, Dancer.

Part IV - Completion -- Set Designer, Costume Designer, Lighting, Sound, Makeup, Advertising.

All in all, this is an insiders view of how they see the theater working. Needless to say, each view the theater differently, they se it from their own point of view. This is not only fair, this is what collaboration is all about.

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Featuring 28 of the top talents on Broadway! The Alchemy of Theatre lets the top talents in every theatrical field, from producing and writing to publicity and makeup, share their hard-earned wisdom. They speak on how to achieve success in an environment where giant egos are locked up together under mounting financial and emotional pressure, and are expected to deliver greatness. In short, this book is a how-to manual of collaboration by the professionals who do it best. Among those who have packed their lively essays with real-world stories of experience on legendary productions are directors Harold Prince, Susan Stroman, and George C. Wolfe; playwrights Wendy Wasserstein, recently deceased, and Edward Albee; stars Chita Rivera and Brian Stokes Mitchell; set designer Robin Wagner; songwriter Cy Coleman, in one of his last writing efforts before his death; costume designer William Ivey Long; producer Rocco Landesman; theatre operator Gerald Schoenfeld, chairman of The Shubert Organization; playwright and librettist Terrence McNally; lighting designers Jules Fisher and Peggy Eisenhauer; Musical Director Paul Gemignani; and more than a dozen more. This book is nothing but true-life stories of how these precepts work in real life for some of the most talented people alive. "Every narrative gives an inside look at what makes theater magical and allows a performance to come together. For those who love the theater, this book is essential." Library Journal

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One on One: The Best Womens Monologues for the 21st Century (The Applause Acting Series) Review

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(More customer reviews)As a director of a professional theater, I can tell you that the right monologue is vital for a great audition.Finding the perfect monologue is a hard task for any actor and it's even harder for female actors.This wonderful resource provides a wealth of women's monologues for both the professional and educational theater.After providing solid advice for choosing the right monologue, Henry, Jaroff, and Shuman offer a robust choice of monologues from a wide range of playwrights and styles.Thoughtful, complex, and beautifully theatrical, these monologues provide plenty of choices for the perfect monologue.A must have for any actor's library!

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Three editors, each associated with theatre, collaborated on this book of monologues for actresses. What they discovered, besides bravura pieces for auditions, acting classes, and study, was the pulse of the millennial theatrical scene. A follow-up to the popular previous edition from the 1990s, One on One: The Best Women's Monologues for the 21st Century includes the work of over 70 playwrights, spotlighting the best of Broadway, Off-Broadway, regional, and experimental writings since 2000. A special introduction also explains how to choose, practice, and perform a speech for auditions. Comic or serious - or both - the monologues are written for young, old, and multicultural players by famous names and up-and-coming talent. Anna Deavere Smith records abuse in "real" relationships (House Arrest); August Wilson relates trials of those who survived coming to America - and those who did not (Gem of the Ocean); and William Gibson recreates the dark, fledgling days of Israel (Golda's Balcony). Additional works include Are You Ready? by David Auburn, Bad Dates by Theresa Rebeck, The Committee by Brian Dykstra, and many others.

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Accents: A Manual for Actors- Revised and Expanded Edition Review

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(More customer reviews)The range and usefulness of this book is quite astonishing. Not only doesthe text provide important sounds, stress and pitch and mouth/tonguepositions for more than 80 accents of English as spoken all over the globe,but the author illustrates them with great versatility on the accompanyingCD. I learned the difference between several Irish accents, heard a CockneyYiddish and the same phrase spoken in several regions of the AmericanSouth. It is an invaluable book for the actor or anyone who finds accentsintriguing. A vibrant plus is the erudite and highly readable introductoryessays to each language group which give a history of the country and itslanguage, and include many examples of recordings and films in which youcan hear fine examples of English spoken with that accent. I now understandwhy my Swedish daughter-in-law and Southern husband speak as they do,and amlooking forward to perfecting my Dublin accent.A gift for anyone intheater or film, or anyone who is fascinated by the many ways our languagecan be spoken.

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This practical reference manual, with its precise, authentic instructions on how to speak in more than 100 dialects, has established itself as the most useful and comprehensive guide to accents available, now increased by a third in this revised printing. As before, the accents range from regional U.S. and British dialects to European accents that include, among others, the Germanic, Slavic and Romance Languages. Completing his around-the-world journey, the author then covers the Middle East, Africa and Asia.

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Acting in Film (2002) Review

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(More customer reviews)For a student of film acting, this DVD is a rare chance to get good, solid, practical advice from a successful working actor.Mr. Caine presents information in a down to earth and entertaining way to both a panel of students and a studio audience.

My only complaint is that it should have run longer than 1 hour.I realize that the production was bound by the restraints of the television series, but as a DVD release more could have been included.

Highly recommended as is Mr. Caine's companion book 'Acting In Film'.

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Mr. Caine gives you a once-in-a-lifetime chance to rob him blind! The man who's hypnotized the camera lenses for a quarter of a century reveals the most closely guarded secrets on script preparation. working with the director, forming a character, voice, sound, and movement. Pearl by pearl he lays out the Caine wisdom on everything from set politics to set decorum, the film bureaucracy and more!A treasure ... I'm not going to look at performances quite the same way ... A grand entertainment with more drama than most movies ... He's a marvelous teacher ... A real clear-cut lesson that every critic should see and everbody who goes to the movies should see... - Gene Siskel, Siskel & EbertI watched the video and had my doubts ... I thought a lot of what he said was horseshit, but halfway through the movie I thought: The son of a bitch is right! -Howard Stern

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One on One: The Best Men's Monologues for the 21st Century (Applause Books) Review

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(More customer reviews)I borrowed this from the library for my boyfriend, who was beginning an acting workshop.He found so many useful monologues in this book that we ended up buying it.The pieces span a wide range of ages, ethnicities, types, and topics, and it is an indispensible as a source for fresh and exciting audition pieces that haven't been done to death by a million other aspiring actors.Highly recommended for all male actors.

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Covering the best of Broadway, Off-Broadway, regional, and experimental theatre since 2000, One on One challenges actors to explore the inner self, develop skill and artistry for auditions, and deliver a knockout onstage performance. These monologues - sometimes comic, sometimes serious, and often both - tackle issues ranging from race, class, gender, relationships and romance to coming of age, mortality, 9/11, and the Iraq war.

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The End of Acting: A Radical View (Applause Books) Review

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(More customer reviews)So why are the Brits, pound for pound, far better actors than their American cousins? Over a hundred years ago Edwin Booth and other greats toured England performing Shakespeare. The idea of American actors touring England these days, performing Shakespeare--or any of the classics---is about as far fetched as as a rap group, a mariachi band or The Dixie Chicks touring Rome performing Verdi.
What went wrong?
Why did critics give James Earl Jones good reviews as the judgein an Ibsen play but felt compelled to inform you that, just in case you didn't know it, there were no black judges in 19th century Norway---and yet felt no need whatever to point out that, just in case you didn't know it, they spoke (unlike Jones and the other actors in the play) Norwegian,not English?
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Hornby examines conventions so ingrained in American acting training, that we're not even aware they're conventions any longer.
His main target is the indubitable Lee Strasberg and his followers. Hornby is not so much anti-Method as he is pro-Stanislavsky.Using examples and photos from actors as varied as Marlon Brando, Humphrey Bogart and W.C. Fields; his section on 'Stanislavsky's Basic Theories' is worth the price of the book alone.
Hornby'scritique against Lee's guru/teacher offsprings is that among many sins, they 'train' actors in the manner of a football coach who runs all sorts of endless exercises but never actually lets the team play in a real game.
If they did reality would set in and the con-job would be over. Actors are of course equally guilty in perpetuating the con out of their own fear--if they actually had to audition, get hired and depend upon the audience's pleasure to earn a living in the theater--Gee, they'd be rather like the English wouldn't they?
As it is they can stay in the sidelines and talk forever as they examine all their 'flaws' in labs/studio/workshops, but do nothave to dirty their hands battling in the arena.
Equally guilty, in his eyes, are the pundits that run American Theater Arts departments at universities. Even those who are not the offspring of Lee & co, encourage actors to 'play themselves' to such an absurd degree that Hornby notes that the late Peter Sellers could not have passsed the audition for anentrance exam. he could not 'play himself'.Olivier would have probably fared equally badly, and of course Meryl Streep regularly getsput down for using accents, i.e; for ACTING. Even if the accent is required in the role.
The book begins with a section entitled the psycho-sexual basis of acting, which quotes Freud extensively and is a bit long winded. Not badly written by any means, just that the points that acting is fun because the lines of ego are not so rigidly drawn as one thinks, that actors are considered 'childish' by those who hate their own jobs (Oh, 90% of the public), The common distrust towards people who pretend to be someone else--all this wasbetter stated in David Mamet's "True and False", when he observed that, in the Middle Ages, actors were buried at a crossroad---with a stake through the heart. "An awesome compliment"
Nevertheless, this is truly a 5 star book, and contains more constructive critique than Mamet's.
Absolutely required reading for any actor or director.

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From Richard Hornby's preface: This book is written for those who act, those who teach acting, and those who are interested in seeing it. It is both a theoretical work and a call for action. This book is an unashamed attack on the American acting establishment ... The concepts derive from my graduate seminars in acting theory and history in the School of Theatre at Florida State University ... Much of the feistiness of those classes carries over into this book ... If my arguments serve only to stimulate new dialogue, they will have been valuable.

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Voice Actor's Guide to Recording at Home and On the Road (Book) Review

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(More customer reviews)I was looking for a book to explain how to record one's voice on a home computer.This very practical, easy-to-understand guide to voice-over recording comes through loud and clear, with excellent signal-to-noise ratio.Best of all, these guys "get" direct-to-computer USB recording, mixing software, the Internet, and other modern technologies, integrating them with timeless recording advice gathered in real careers.

Hogan and Fisher tell you what works, and why what you think might work, won't.Rather than showing off their geek-speak chops, they use regular English and even poke fun at the technical lingo in the process of demystifying it.Other home recording books lavish excessive technical verbiage on how to pad your walls.These guys offer practical solutions (including "move") and even show how to make a portable acoustic foam-lined mic box.You will discover exactly what you need to buy -- although theUSB-audio-interfaces section is surprisingly short -- and how to use it.They won't tell you exactly what mic to buy, though, and it's for your own good.

Warning: the jokes are abundant, mostly terrible and distracting, especially the comments from "Prunella," whose parenthetic remarks, although they mercifully trail off, are the editorial equivalent of lip smacks. (The full harshness of this comment will be appreciated upon reading the otherwise excellent text.)Failed humor notwithstanding, the tone ends up being warmly self effacing and encouragingly user-oriented.These guys take seriously the job of helping you, including a strong index and glossary, and plenty of URLs.

Chapter 12, Advanced Production Techniques, is alone worth the price of the book.Embedded in an economically worded step-by-step script for editing recordings are the exact frequencies to manipulate to address problems such as thin sound, dull recording, and sibilance.You end up feeling as though you have two buddies in the recording business; telling you every tip they know, and hammering on mistakes that could ruin your project.Don't let the light tone fool you: this is a seriously great book!

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For many years, recording voiceovers was the exclusive domain of commercial studios. Even a simple voice audition meant a trip to a studio, an ad agency, or an agent's office. Today voiceover actors are increasingly producing voice tracks for corporate narration, radio spots, animation, games, and other dialogue projects from their own home studios. Many have learned that to survive in this highly competitive field, they need to learn and master basic home recording production techniques. "The Voice Actor's Guide to Recording at Home and On the Road, Second Edition" shows both aspiring and established voiceover actors how to set up and effectively use their own inexpensive -- but professional-sounding -- personal recording studio to make professional-quality home recordings quickly and easily. Everything is covered to help you get auditions and jobs, from setting up your studio with the right hardware and software, recording at home, and production basics, to promotion, podcasting, and advanced production. This new edition of this bestselling bible for voiceover home recording has been completely updated to cover all the exciting new technology and delivery options currently available.

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Tools and Techniques for Character Interpretation: A Handbook of Psychology for Actors, Writers, and Directors (Limelight) Review

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(More customer reviews)In his preface, Blumenfeld explains how his book "takes from the science of behavior tools and techniques that will be useful to the actor in practicing the art of behavior, to the writer in creating characters with depth, and to the director in interpreting scripts."This handbook is fairly heavy reading, but is still accessible to people who are not very familiar with the world of psychology. Thankfully, Chapter 8 is nearly 50 pages of alphabetized psychology terms and topics.Blumenfeld covers basic psychological principles and theories with examples from film and television.

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A must for both the aspiring and seasoned artist. Uniquely geared to the work of theatre and film artists, this book, for the first time, sets out clearly and concisely the ideas, principles, and character typology of various psychological schools from Freudian, Kleinian, and Jungian to contemporary developments. The practical uses and applications of their theories are graphically demonstrated throughout the book by means of numerous examples and in-depth analyses drawn from classic and contemporary theatrical and cinematic literature. Stanislavskian methods are also discussed. An immensely useful, essential tool for character creation and analysis. Features a foreword by noted acting teacher Alice Spivak.

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Swashbuckling: A Step-by-Step Guide to the Art of Stage Combat and Theatrical Swordplay - Revised and Updated Editi (Limelight) Review

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(More customer reviews)"SWASHBUCKLING" is a well thought out, easy to understand book (lots of clear, step-by-step pictures help). Anyone interested in theatrically-oriented swordplay should buy a copy. As the author of "The Art and Science of Fencing," "The Inner Game of Fencing," "The Encyclopedia of the Sword;" and the editor-in-chief of "Fencers Quarterly Magazine," I recommend this book.

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The ultimate guide to stage fighting technique and basic swordplay, this book covers everything an actor must do to give a dynamic and convincing performance as a stage combatant.

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Will Power: How to Act Shakespeare in 21 Days (Applause Books) Review

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(More customer reviews)This is what every high school English student ought to hear: "You needn't fear the language - it's specially designed to involve and support you."And so John Basil begins 'Will Power,' a book which makes the complex mechanics of performing Shakespeare manageable and UNDERSTANDABLE.He's not giving you narrow interpretations but teaching you how to get into the text enough/understand the background so you can form your own conclusions.Obviously, performing Shakespeare isn't easy.But Basil's approach really helps - a different focus each day, checklists, practice hints, etc.You hone your alliteration skills.Discover why certain words are capitalized (it DOES make a difference!)And he gives tips on how to make the performance more authentic (the Globe didn't have electricity!Emphasis based on body language and eye contact becomes even more important.)

Whether you're acting in one of Shakespeare's plays or simply want a different approach to understanding his writings, this book is definitely worth the read.

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Thousands of young people set their sights on becoming professional actors each year, hoping to get a foot in the door with a solid resume built in high school, college, and local theatre company productions. But competition for parts is fierce, and no list of credits is complete without competency in the classical works of Shakespeare.Will Power guides both professional actors and aspirants through a lively 21-day rehearsal process leading up to the day of an actual audition or performance. Actors need never again be confused about where to begin or how to follow through when developing a Shakespearean role. Clear stepping stones have been laid out before them-by Shakespeare himself. Even seasoned actors, familiar with verse, are fascinated when they learn about the acting clues and stage directions embedded in the original First Folio text of Shakespeare's work, in the form of particular punctuation, capitalized letters, and spelling. Putting actors on their feet in dynamic and fun rehearsals, this practical guide helps them develop the 7 Cs of acting: commitment, concentration, conditioning, control, confidence, courage, and clarity while also demystifying how to perform thesethese magnificently crafted plays.

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Duo!: The Best Scenes for Two for the 21st Century (Applause Books) Review

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(More customer reviews)This is a terrific collection of scenes because it does not include the same, old "Laura and the Gentleman Caller" or "Juliet on the balcony with Romeo" dialogues that you get elsewhere. Here are over a hundred fresh, hip, contemporary scenes written by an equal number of today's brightest playwrights from the turn of the 21st century on. Plus, there are scenes for a man and a woman, two women, or two men. Whether you're an acting teacher, a student, or just a theatre buff, here is a well-organized, blockbuster compendium that has been cunningly assembled by the book's three collaborators with a keen eye for works that address the spot-on issues of our age - from race and gender to class and politics to love and sex. You would do well to consider your acquisition of this book not as a purchase, but an investment.

Jonathan Kestly
Stage Director

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Culled from the work of over 100 playwrights and encompassing the seminal issues of our time, this follow-up compendium is by turns comic and serious but always intensely human. Pieces include scenes from August: Osage County, George and Martha, Intimate Apparel, Take Me Out, and Water Music.

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Using the Stanislavsky System: A Practical Guide to Character Creation and Period Styles (Limelight) Review

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(More customer reviews)As a young acting student years ago, I read and reread the work of Stanislavsky and found it truly relevatory: I used my feelings to bring the actor's words and actions to life. Now that I have gone from actor to historical novelist, I understand one must know the period well in which the play is set....but that is a daunting task for actors who are not historians. Where do you begin?

"Using the Stanislavsky System" is an amazingly rich overview of historic periods from the ancient Greek through the 20th century and the cultural, intellectual, moral, spiritual, sociological and economic realities of daily life. How would you carry yourself if you were a young girl in 1300 whose virginity was her most precious possession? How would the complexity of your hair arrangement and your clothing affect your walk? What songs or prayers ran through your head? How did what you ate affect your body? What was your relationship with God? Reading a relevant section of this book will give you a very good idea, but even more, the author suggests hundreds of movies, period diaries, period literature, novels, and history books to help you understand the feelings and actions of an Elizabethan actor, an 18th century English parson, a Victorian upper middle class woman.

This is the book to own to begin period character creation and the author's further directions for enriching that character are so thorough that you may walk out on stage as truly another person who lived centuries before and make his life and world come intensely to life before your audience.

I am also recommending this book to writers of historical fiction.

Stephanie Cowell, author of MARRYING MOZART and THE PLAYERS: A NOVEL OF THE YOUNG SHAKESPEARE

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Product Description:
This book is a must for all professional and student actors, and for acting teachers as well. A concise, clear explanation of exactly how to create a character in plays of any period, using the Stanislavsky system. Known for his detailed approach to the art of acting and for the authenticity of his historical productions, Stanislavsky believed that actors should immerse themselves completely in the era in which a play or film is set. The chapters provide inspiring cultural, social, and historical introductions to the periods from ancient Greece through the end of World War Two. Each chapter covers the way men and women moved, stood, and sat in the clothing they wore; the use of accessories such as fans, swords, snuffboxes, gloves, and hats; greetings, bows, and curtsies; table manners; and the etiquette, civility, and automatic habits of thinking and of social intercourse depending on social class. All these things that people took for granted as the background of their lives, as part of their conscious and unconscious mental world, are the essential components of building a character with real, organic behavior associated with a specific era. Literature, music, painting, and other graphic arts are all discussed as well, and the sections on films and television programs, as well as bibliographies of books and recordings, will guide your further research.

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