Movement for Actors (Second Edition)

by Nicole Potter (Editor), Barbara Adrian (Editor), Mary Fleischer (Editor)

Overview

“This wonderful, eclectic book offers both theoretical and practical insights to actors, directors, and students, while providing fascinating insights to anyone who seeks a greater understanding of the process of creating theater.—Barbara MacKenzie-Wood, head of acting/music theater, Carnegie Mellon University

In this updated rich resource for actors, renowned movement teachers and directors reveal the physical skills needed for the stage and the screen. Readers will gain remarkable insights into the physical skills and techniques used in a wide variety of performance styles through ready-to-use exercises and approaches. Included in this new edition are chapters covering:

• Stage combat
• Yoga for actors
• Martial arts
• Body-mind centering
• Authentic movement
• Bartenieff fundamentals
• Grotowski-based movement

Those who want to pursue serious training will be able to consult the appendix for listings of the best teachers and schools in the country. This inspiring collection is a must-read for all actors, directors, and teachers of theater looking for stimulation and new approaches.

Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.

Product Details

ISBN-13:	9781621535416
Publisher:	Allworth
Publication date:	01/03/2017
Edition description:	Second Edition
Pages:	376
Product dimensions:	6.00(w) x 8.90(h) x 1.10(d)

About the Author

Nicole Potter, who passed away in 2013, served as a senior editor at Allworth Press and as an adjunct professor in the theater department of Marymount Manhattan College. She edited numerous theater, film, and art publications and wrote for film magazines, and her performance background included appearances in film and television.

Mary Fleischer is a professor of theatre arts at Marymount Manhattan College. She holds a PhD in theatre from the Graduate Center of the City University of New York and is the author of Embodied Texts: Symbolist Playwright-Dancer Collaborations.

Barbara Adrian is a professor of theatre arts at Marymount Manhattan College and an associate artist with the off-Broadway theatre company New York Classical Theatre. She also coaches professional actors for television, film, and stage. She is the author of Actor Training the Laban Way: An Integrated Approach to Voice, Speech, and Movement (Allworth Press).

Table of Contents

Preface to the Second Edition ix

Introduction xi

Part 1 A Little History

Biomechanics: Understanding Meyerhold's System of Actor Training Marianne Kubik 3

Michael Chekhov, Psychological Gesture, and the Thinking Heart Floyd Rumohr 18

Theatrical Stillness Mary Fleischer 30

Teaching Charlie Chaplin How to Walk Dan Kamin 40

The Whole of an Actor's Life Richard Stockton Rand 55

Part 2 Body Basics

The Feldenkrais Method® Aim S. Questel 71

Alexander Technique and the Integrated Actor: Applying the Principles of the Alexander Technique to Actor Preparation Teresa Lee 84

An Introduction to Laban Movement Analysis for Actors: A Historical, Theoretical, and Practical Perspective Barbara Adrian 92

Acting with Bartenieff Fundamentals^SM: A Somatic, Developmental Movement Training for Presence and Physical Characterization Rachelle Palnick Tsachor 105

Breathe Before You Act Caroline Thomas 121

Yoga for Actors: Approaches Robert Allen 133

Part 3 Transformations

Mask and Ritual Shelley Wyant 143

The Smallest Mask: The Red Nose Jean Taylor 148

Discovering Ensemble and Impulse through Improvisation Paul Urcioli 152

Part 4 Beyond Glove, Fan, and Sword

Bringing the Past into the Present: Period Dance on the Stage and in the Curriculum Nira Pullin 163

Shakespeare Honors the Three Centers of the Body Susan Dibble 176

Some Rehearsal Notes for Molière and Restoration Comedy Style Rod McLucas 190

Stage Combat: A Paradox of Fixed Technique and Free Expression Matthew R. Wilson 199

Part 5 Schools of Thought

The Williamson Physical Technique: The Physical Process of Acting Loyd Williamson 213

A Comprehensive Approach to Theater Training and the Dynamic Merging of the Actor, Director, and Playwright Kari Margolis 231

Movement Training: Dell'Arte International Joan Schirle 248

Somatic Training for Actors with the Principles of Body-Mind Centering® Erika Berland 258

Part 6 Inside Out and Outside In

Synergizing Internal and External Acting Jill Mackavey 269

The Actor as Athlete of the Emotions: The Rasaboxes Exercise Michele Minnick Paula Murray Cole 285

Authentic Movement and Its Application to Contemporary Performance Training Rebecca VerNooy 298

Part 7 Moving Forward

Mind-Body Juggling for the Camera Erika Batdorf 307

Teaching Postmodern Choreography to Actors: Eschewing the Inebriation of Emotion Nicole Potter interviews Anaie-B Parson 315

SITI: Why We Train, A conversation between Anne Bogart and the SITI company, compiled Will Bond 322

The Problem of Movement Theater Brad Krumholz 332

Contributors 342

Training Resources 350

Suggested Reading 353

Index 356

What People are Saying About This

Lisa Eichhorn

Lisa Eichhorn, internationally renowned actress and two-time Golden Globe and BAFTA nominee
A marvelous, instructive, and coherent sourcebook for my work with fledgling actors and filmmakers. It brings back memories of my own experiences, working with Mme. Fedro and her stick and learning the lessons of the Alexander Technique, during those exhilarating days of rigorous physical training for a lifelong career.

George Morrison

George Morrison, President, The New Actors Works, Emeritus Professor SUNY-Purchase
The most complete survey to date of the available physical components of modern actor training. Invaluable.

Robert H. Vorlicky

Robert H. Vorlicky, Tisch School of the Arts, New York University
A timely collection of essays, for practioners and theater scholars alike, which synthesizes a broad range of movement techniques that have deeply influenced performance training in the United States. The authors' passions are palpable, their information clearly articulated, and their expertise firmly grounded as their insights add to the growing interdisciplinary study of the body.

Barbara MacKenzie-Wood

Barbara MacKenzie-Wood, Head of Acting, Carnegie Mellon University
This wonderful, eclectic book offers both theoretical and practical insights to actors, directors, and students while providing fascinating insights to anyone who seeks a greater understanding of the process of creating theater. Its focus on the actor's use of the total body brings together a century of techniques ranging from Meyerhold to the experiments of today's Postmodern choreographers. We often speak of the need to move beyond the seminal work of Stanislavski. For those who wish to do so, Ms. Potter has furnished us with an excellent roadmap.

Editorial Reviews

"The most complete survey to date of the available physical components of modern actor training. Invaluable." —George Morrison, former president, the New Actor Works, former emeritus professor, SUNY Purchase

“This wonderful, eclectic book offers both theoretical and practical insights to actors, directors, and students, while providing fascinating insights to anyone who seeks a greater understanding of the process of creating theater. We often speak of the need to move beyond the seminal work of Stanislavski. For those who wish to do so, Ms. Potter has furnished us with an excellent roadmap.” —Barbara MacKenzie-Wood, head of acting/music theater, Carnegie Mellon University

“A marvelous, instructive, and coherent sourcebook. It brings back memories of my own experiences, working with Mme. Fedro and her stick and learning the lessons of the Alexander Technique, during those exhilarating days of rigorous physical training for a lifelong career.” —Lisa Eichborn, internationally renowned actress and two-time Golden Globe and BAFTA nominee

“A timely collection of essays, which synthesizes a broad range of movement techniques that have deeply influenced performance training. The authors’ passions are palpable, their information clearly articulated, and their expertise firmly grounded as their insights add to the growing interdisciplinary study of the body.” —Robert H. Vorlicky, Tisch School of the Arts, New York University

"The most complete survey to date of the available physical components of modern actor training. Invaluable." —George Morrison, former president, the New Actor Works, former emeritus professor, SUNY Purchase

“This wonderful, eclectic book offers both theoretical and practical insights to actors, directors, and students, while providing fascinating insights to anyone who seeks a greater understanding of the process of creating theater. We often speak of the need to move beyond the seminal work of Stanislavski. For those who wish to do so, Ms. Potter has furnished us with an excellent roadmap.” —Barbara MacKenzie-Wood, head of acting/music theater, Carnegie Mellon University

“A marvelous, instructive, and coherent sourcebook. It brings back memories of my own experiences, working with Mme. Fedro and her stick and learning the lessons of the Alexander Technique, during those exhilarating days of rigorous physical training for a lifelong career.” —Lisa Eichborn, internationally renowned actress and two-time Golden Globe and BAFTA nominee

“A timely collection of essays, which synthesizes a broad range of movement techniques that have deeply influenced performance training. The authors’ passions are palpable, their information clearly articulated, and their expertise firmly grounded as their insights add to the growing interdisciplinary study of the body.” —Robert H. Vorlicky, Tisch School of the Arts, New York University

From the Publisher

One would think that "moving would be as natural as falling off a log, and yet when we stand in front of an audience, our hands grow large and heavy and our feet root to the floor....the contributors to the collection by Potter are well are of this problem and take different approaches to solving it.....As a collection, Potter's book offers a variety of viewpoint and focus. For example, Mary Fleishcher's article is about stillness-how to be silent, respond, return to stillness, and so on-while Marianne Kubik discusses Meyerhold's system of training actors and body movement. Theresa Lee examines the Alexander Technique. In all, there are 23 articles and almost as many approaches to body movement....discusses the importance of the synthesis of body and mind, discipline and spontaneity, and knowledge and instinct. Highly recommended for all library theater collections and large public libraries.

Library Journal

Teachers and practitioners offer actors, directors, and students both practical suggestions and inspiration on how to tell the story through the body. Body basics, beyond glove and fan, and schools of thought are among the themes. Annotation c. Book News, Inc., Portland, OR (booknews.com)

Booknews