Movement for Actors (Second Edition)
376
Movement for Actors (Second Edition)
376eBook2nd Edition (2nd Edition)
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Overview
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: | 9781621535430 |
|---|---|
| Publisher: | Allworth |
| Publication date: | 01/03/2017 |
| Sold by: | SIMON & SCHUSTER |
| Format: | eBook |
| Pages: | 376 |
| Sales rank: | 926,320 |
| File size: | 8 MB |
About the Author
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. She lives in New York City.
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) and lives in New York City.
Table of Contents
| Introduction |
| Part I: A Little History |
| Biomechanics: Understanding Meyerhold's System of Actor Training |
| Marianne Kubik |
| Michael Chekhov, Psychological Gesture, and the Thinking Heart |
| Floyd Ruhmor |
| Theatrical Stillness |
| Mary Fleischer |
| Teaching Charlie Chaplin How to Walk |
| Dan Kamin |
| Part II: Body Basics |
| The Feldenkrais Method® |
| Alan Questel |
| Alexander Technique and the Integrated Actor: Applying the Principles of the Alexander Technique to Actor Preparation |
| Teresa Lee |
| An Introduction to Laban Movement Analysis for Actors: A Historical, Theoretical, and Practical Perspective |
| Barbara Adrian |
| Breathe Before You Act |
| Caroline Thomas |
| Part III: Transformations |
| Mask and Ritual |
| Shelley Wyant |
| The Smallest Mask: The Red Nose |
| Jean Taylor |
| Discovering Ensemble and Impulse through Improvisation |
| Paul Urcioli |
| Part IV: Beyond Glove and Fan |
| Bringing the Past into the Present: Period Dance on the Stage and in the Curriculum |
| Nira Pullin |
| Shakespeare Honors the Three Centers of the Body |
| Susan Dibble |
| Some Rehearsal Notes for Molière and Restoration Comedy Style |
| Rod McLucas |
| Part V: Schools of Thought |
| The Williamson Technique: The Physical Process of Acting |
| Lloyd Williamson |
| An Introduction to Margolis MethodTM: A Dynamic Physical Approach to Actor Training |
| Kari Margolis |
| Movement Training: Dell'Arte International |
| Joan Schirle |
| Part VI: Inside Out and Outside In |
| Synergizing Internal and External Acting |
| Jill Mackavey |
| The Actor as Athlete of the Emotions: The Rasaboxes Exercise |
| Michele Minnick and Paula Murray Cole |
| Part VII: Moving Forward |
| Mind-Body Juggling for the Camera |
| Erika Batdorf |
| Teaching Postmodern Choreography to Actors: Eschewing the Inebriation of Emotion |
| Annie-B Parson and Nicole Potter |
| SITI: Why We Train: A Conversation between Anne Bogart and the SITI Company |
| compiled by Will Bond |
| The Problem of Movement Theater |
| Brad Krumholz |
| Contributors |
| Appendix A: A Short Resource List for Schools and Training Programs for Movement |
| Appendix B |
What People are Saying About This
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, 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, 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, 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.