By Melissa Bruder, Lee Michael Cohn, Madeleine Olnek, Nathaniel Pollack, Robert Previtio, Scott Zigler, David Mamet
6 operating actors describe their tools and philosophies of the theater. All have labored with playwright David Mamet on the Goodman Theater in Chicago.
Read or Download A Practical Handbook for the Actor PDF
Similar theater books
Augusto Boal's workshops and theatre workouts are popular through the international for his or her life-changing results. finally this significant director, practitioner, and writer of many books on neighborhood theatre speaks out concerning the matters most vital to him – the sensible paintings he does with various groups, the results of globalization, and the inventive chances for we all.
Steven Adler examines the dynamic existence and workings of the theatre corporation liable for many of the world’s so much compelling performances and influential productions of the final 40 years, together with Marat/Sade, A Midsummer Night’s Dream, Les Misérables, Les Liaisons Dangereuses, and Nicholas Nickleby.
- Embodying the Feminine in the Dances of the World’s Religions
- Street Theatre and Other Outdoor Performance
- The Playful Revolution: Theatre and Liberation in Asia (Drama and Performance Studies)
- New York’s Yiddish Theater: From the Bowery to Broadway
- Howard Barker's Theatre of Seduction (Routledge Harwood Contemporary Theatre Studies)
- The Art of Theater
Extra resources for A Practical Handbook for the Actor
This knowledge is his technique. Acting is living truthfully under the imaginary circumstances of a play. It can be broken down into two areas: action and moment. Action is what you go onstage to do, the physical process of trying to obtain a specific goal, often referred to as the objective. Moment is what is actually happening in the scene as you are playing it at any given instant. Ideally, every moment of a play is based on what has happened in the moment preceding it. Acting then is dealing truthfully with the other actors onstage in order to pursue a specific goal.
HARRIET: Mn-hmm. Always buy a little something to make me feel good. PETE: The boss held my check back, you know. HARRIET: Poor thing! Why? PETE: Er, trouble with serial numbers or something—I don’t know. HARRIET: Why, come on, I’ll take you out to dinner. PETE: No, that’s okay, I couldn’t— HARRIET: Well, we could make dinner at my apartment. PETE: No, I can’t, Harriet. Actually, I was hoping you could lend me forty dollars. If you wish, you can write in your analyses below: Pete Harriet 1. 1. 2.
To do the latter you must learn to recognize and act upon the truth of the moment, or that which is actually happening in the scene as you are playing it. An actor can very easily set in his mind exactly how a scene should be played. This is not the purpose of text analysis, nor is it desirable in terms of execution. The difficulty of executing an action lies in dealing with that which is actually happening in the other person. You can’t execute your action in general; you must stay in tune with the responses you are receiving.
A Practical Handbook for the Actor by Melissa Bruder, Lee Michael Cohn, Madeleine Olnek, Nathaniel Pollack, Robert Previtio, Scott Zigler, David Mamet