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In The Death of the Actor Martin Buzacott launches an all-out attack on contemporary theatrical practice and performance theory which identifies the actor, rather than the director, as the key creative force in the performance of Shakespeare. Because actors are absent from the site of Shakespearean meaning, he argues, the illusion of their centrality is sustained only by a rhetoric of heroism, violence and imperialism.
Death of the Actor by Julie Rumbarger,John Style Pdf
In this provocative book by actor Kyle Secor (Homicide: Life on the Street, The Flash, Veronica Mars), you're invited on a wild ride into the unknown where the 'me' and the 'actor' are not all they appear to be. Where the freedom of acting without an actor and doing with a doer may be the unavoidable expression of Love. Not only for actors, but a book anyone might keep nearby as a reminder of just what is.
An aging actor, forced into retirement after a lifetime on the stage, decides he will create for himself a new life based on Rostand's immortal Cyrano de Bergerac. With the help of other actors, the actor's fantasy becomes true to life and the he is faced with a life or death choice.
In The Death of the Actor Martin Buzacott launches an all-out attack on contemporary theatrical practice and performance theory which identifies the actor, rather than the director, as the key creative force in the performance of Shakespeare. Because actors are absent from the site of Shakespearean meaning, he argues, the illusion of their centrality is sustained only by a rhetoric of heroism, violence and imperialism.
The final work from the Pulitzer Prize–winning writer, actor, and musician, drawn from his transformative last days In searing, beautiful prose, Sam Shepard’s extraordinary narrative leaps off the page with its immediacy and power. It tells in a brilliant braid of voices the story of an unnamed narrator who traces, before our rapt eyes, his memories of work, adventure, and travel as he undergoes medical tests and treatments for a condition that is rendering him more and more dependent on the loved ones who are caring for him. The narrator’s memories and preoccupations often echo those of our current moment—for here are stories of immigration and community, inclusion and exclusion, suspicion and trust. But at the book’s core, and his, is family—his relationships with those he loved, and with the natural world around him. Vivid, haunting, and deeply moving, Spy of the First Person takes us from the sculpted gardens of a renowned clinic in Arizona to the blue waters surrounding Alcatraz, from a New Mexico border town to a condemned building on New York City’s Avenue C. It is an unflinching expression of the vulnerabilities that make us human—and an unbound celebration of family and life.
Michael Chekhov's classic work To the Actor has been revised and expanded by Mala Powers to explain, clearly and concisely, the essential techniques for every actor from developing a character to strengthen awareness. Chekhov's simple and practical method – successfully used by professional actors all over the world – trains the actor's imagination and body to fulfill its potential. To the Actor includes a previously unpublished chapter on 'Psychological Gesture', translated into English by the celebrated director Andrei Malaev - Babel; a new biographical overview by Mala Powers; and a foreword by Simon Callow. This book is a vital text for actors and directors including acting and theatre history students.
This is a book for the thinking actor, and the finest actors I've known are just that. The best actors bring it all together body, heart, spirit, and mind. This book is for the actor who thinks about craft and influence, who thinks about the relationship of performance to living, who thinks about doing and what that doing means. Acting is a metaphor and it's a mirror, and, so, a theory of acting, if true, shows us to ourselves. Jeff Zinn knows this. He knows it as an actor, director, teacher, and thinker. His theory of everything is simple and revelatory. (from the foreword by Todd London)
How do audiences look at actors in costume onstage? How does costume shape theatrical identity and form bodies? What do audiences wear to the theatre? This lively and cutting-edge book explores these questions, and engages with the various theoretical approaches to the study of actors in performance. Aoife Monks focuses in particular on the uncanny ways in which costume and the actor's body are indistinguishable in the audience's experience of a performance. From the role of costume in Modernist theatre to the actor's position in the fashion system, from nudity to stage ghosts, this wide-ranging exploration of costume, and its histories, argues for the centrality of costume to the spectator's experience at the theatre. Drawing on examples from paintings, photographs, live performances, novels, reviews, blogs and plays, Monks presents a vibrant analysis of the very peculiar work that actors and costumes do on the stage.
The Theatre of Death – The Uncanny in Mimesis by Mischa Twitchin Pdf
This book is concerned with such questions as the following: What is the life of the past in the present? How might “the theatre of death” and “the uncanny in mimesis” allow us to conceive of the afterlife of a supposedly ephemeral art practice? How might a theatrical iconology engage with such fundamental social relations as those between the living and the dead? Distinct from the dominant expectation that actors should appear life-like onstage, why is it that some theatre artists – from Craig to Castellucci – have conceived of the actor in the image of the dead? Furthermore, how might an iconology of the actor allow us to imagine the afterlife of an apparently ephemeral art practice? This book explores such questions through the implications of the twofold analogy proposed in its very title: as theatre is to the uncanny, so death is to mimesis; and as theatre is to mimesis, so death is to the uncanny. Walter Benjamin once observed that: “The point at issue in the theatre today can be more accurately defined in relation to the stage than to the play. It concerns the filling-in of the orchestra pit. The abyss which separates the actors from the audience like the dead from the living...” If the relation between the living and the dead can be thought of in terms of an analogy with ancient theatre, how might avant-garde theatre be thought of in terms of this same relation “today”?
A memoir by American former actress and singer Jennette McCurdy about her career as a child actress and her difficult relationship with her abusive mother who died in 2013
Chaikin, who directed the celebrated Open Theater in the '60s, kindled an emphasis on communal playmaking whose impact is still evident today. This conversational review of his efforts details his methods and reveals the struggles involved in the creation of some of the most exciting theatre of our time.
A HOLLYWOOD TRAGEDY REVEALED AFTER 60 YEARS!!! Robert Morris should have been a star. He was producer Bert Leonard's original choice to ride alongside George Maharis in Route 66; however, as the concept for the series evolved, Morris was out and Martin Milner was in. As Maharis and Milner prepared to drive into the annals of television history, Robert Morris relocated from New York to California to boost his career. What initially appeared to be a good move ended in tragedy. Less than a year after moving out west, Robert Morris died under peculiar circumstances at a "health ranch" in southern California at the age of 25. For the first time ever, the story of Robert Morris is finally being told: From his humble beginnings as Bobby Morawczynski, growing up in Reading, Pennsylvania; to his days at the American Academy of Dramatic Arts in New York City; his summer internship at the American Shakespeare Festival Theatre in Stratford, Connecticut, in 1956; his television work in New York, most notably on episodes of Deadline and The Naked City, where he co-starred with George Maharis in a "backdoor pilot" for Route 66; to his final days in California where he met his untimely death. In his brief lifetime, Robert Morris worked alongside many people who would go on to fame and fortune, beginning with Lenny Moore, the Pro Football Hall of Famer whose career took shape on the field at Reading High School; Morris was the left halfback to Lenny Moore's right halfback. As a competitive bodybuilder, he shared the stage with Mickey Hargitay (Mr. Universe 1955), Yas Kuzuhara (Mr. USA 1954) and Harry Johnson (Mr. America 1959). At the American Academy of Dramatic Arts, he took classes and hung out with the likes of Eileen Brennan, George Coe, Richard Stahl, Hoke Howell and Clint Kimbrough. At the American Shakespeare Festival Theatre, he worked with notable veterans like John Houseman, Norman Lloyd, John Emery, Stanley Bell, and Morris Carnovsky, up-and-comers like Nina Foch, Pernell Roberts, Fritz Weaver and Jonathan Frid, and future entertainment luminaries like Peter Bogdanovich, Michael Lindsay-Hogg and Jerry Stiller. His television work saw him share the screen with Steve McQueen, William Shatner, Ralph Bellamy, George Maharis, Paul Stewart, Vic Morrow, Michael Ansara, Rory Calhoun and Walter Matthau, working under directors like Robert Mulligan (To Kill A Mockingbird) and Stuart Rosenberg (Cool Hand Luke). Promise Unfulfilled: The Brief Life and Bizarre Death of Actor Robert Morris is the portrait of a man who put his best foot forward to attain the American Dream -- only to have tragedy intervene. Read the story as told by those who knew him -- his friends, family and colleagues, including George Maharis, Michael Lindsay-Hogg, Tony Franke, Barbara Lord Warburton, Pamela Saunders, Susan Quick, Harvey Grossman and Robert Heide.
Acting Theory and the English Stage, 1700-1830 by Lisa Zunshine Pdf
During the eighteenth century, treatises on the science of elocution, gesture and naturalness abounded. This title draws together a representative selection of the most difficult-to-access texts in the period. It helps cultural historians to examine the place of stagecraft in the eighteenth-century imagination.
Between Actor and Critic by Daniel J. Watermeier Pdf
Sarah Bernhardt, London, his own acting—Edwin Booth commented on these and hundreds of other subjects in letters to William Winter, friend of twenty years and drama critic for the New York Tribune. Since he wrote neither autobiography nor diary, the letters constitute the fullest and most detailed record of Booth's career between 1869 and 1890, and arc a new and significant source of information about the actor. The 125 letters which Daniel Watermeier has selected and arranged in this volume are fully annotated; each is preceded by a headnote which provides an introduction to its content and narrative continuity from one letter to the next. Mr. Watermeier's introduction includes biographical sketches of Edwin Booth and William Winter and sets the context of their friendship. With few exceptions, the Booth-Winter letters have not hitherto been made public. They represent a major addition to studies of Edwin Booth and to the history of the American theater. Originally published in 1971. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
In The Power of the Actor, a Los Angeles Times bestseller, premier acting teacher and coach Ivana Chubbuck reveals her cutting-edge technique, which has launched some of the most successful acting careers in Hollywood. The first book from the instructor who has taught Charlize Theron, Brad Pitt, Elisabeth Shue, Djimon Hounsou, and Halle Berry, The Power of the Actor guides you to dynamic and effective results. For many of today’s major talents, the Chubbuck Technique is the leading edge of acting for the twenty-first century. Ivana Chubbuck has developed a curriculum that takes the theories of the acting masters, such as Stanislavski, Meisner, and Hagen, to the next step by utilizing inner pain and emotions, not as an end in itself, but rather as a way to drive and win a goal. In addition to the powerful twelve-step process, the book takes well-known scripts, both classic and contemporary, and demonstrates how to precisely apply Chubbuck’s script-analysis process. The Power of the Actor is filled with fascinating and inspiring behind-the-scenes accounts of how noted actors have mastered their craft and have accomplished success in such a difficult and competitive field.
