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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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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Creating a Character: A Physical Approach to Acting (Applause Books) Review

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(More customer reviews)Once the voice has done its job, how does the body go on from there?How can we make our characters as real as we can?Every actor asks these questions of themself, but there's one question that Yakim asks about every character--Who are they?Boiled down?In two words, even?This book defines the different types of characters as basic archetypes, or "selves":The Vulnerable Self, The Trusting Self, The Instinctive Self.It then goes on to list ways of developing these Selves from a purely physical standpoint.
I have only used parts of this book in developing some of my characters, and already, I feel more confident about my presence on stage.I believe myself now, and that's the hardest audience to convince.

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For over 20 years, Moni Yakim has taught his unique blend of physical training and emotional exploration to a generation of American actors that include Meryl Streep, Sigourney Weaver, and Kevin Kline. Now, for the first time, his acting process is available to every actor and theater professional.

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Getting the part - Thirty-Three Professional Casting Directors Tell You How to Get Work in Theater, Films, and TV (Softcover) (Limelight) Review

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(More customer reviews)This book was by far the best I have read on auditions. It let me know how to act and what to do and not do to get a directors attention. I reccomend this book to anyone and everyone who are looking for an acting job.

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"At last, an in-depth book about the casting process that tells actors what it is like to be on the other side of the desk, and a must read for the aspiring casting director!" -Marilyn Henry, coauthor, How to Be a Working Actor

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