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Acting Teachers and Systems

Feel free to browse through the recommended titles below. Each link will open in a new window and take you directly to Amazon.com.

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Sanford Meisner on Acting (Vintage)
"Sanford Meisner brings every actor who genuinely wants to stretch and bring stellar performances the wisdom to do so in this profound book.
The definition of acting is "living truthfully under imaginary circumstances" which I learned from this book, along with top training at Playhouse West in North Hollywood, CA, where this book was required reading." - Barbara Rose, PhD "Born To Inspire"

Stella Adler: The Art of Acting (Applause Acting Series)
Adler was an eloquent and reverential philosopher 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.

Stanislavski and the Actor by Jean Benedetti
Stanislavski and the Actor is the manual which Stanislavski never had time to write. Using notes made by Stanislavski's assistants, exercises and improvisations used in class, transcripts of Stanislavski's own master classes (translated into English for the first time) and his knowledge of Stanislavski's earlier writings, Benedetti builds up a comprehensive description of the 'system' in contemporary language that is easy to understand by today's actors and teachers.

An Actor's Handbook: An Alphabetical Arrangement of Concise Statements on Aspects of Acting by Constantin Stanislavski
Stanislavski was the foremost influence on the "Method" school of acting, as developed by Lee Strasberg. Here in concise form is what Stanislavski himself said about acting, aimed at students, experienced theatre people and laymen interested in stage craft. These collected short statements on a variety of subjects cannot replace the full expression of Stanislavski's ideas and discoveries in his other books, but they will serve to refresh the reader's memory and pin-point what Stanislavski has to offer inquiring minds both in and out of the theatre.

Building a Character by Constantin Stanislavski
In (this book) Stanislavski, assuming the reader's familiarity with the 'inner technique', proceeds to study costume and the wearing of costume, bodily movement, voice, speech and the use of language, and tempo and rhythm - the more external but essential techniques whereby the actor learns to use his physical instrument . . . and he expounds them as only a master can; i.e., with the insight and authority of talent plus expeirence. Anyone who attempts to train actors or to direct plays will find here a great mine of practical wisdom.

Creating a Role by Constantin Stanislavski
The pattern of disciplined development of character is examined, from the actor's viewpoint, in three widely contrasting plays. For the actor in need of nourishment for his gifts and guidance for his enthusiasm, this book is immeasurably important; for anyone with an interest in theatre it is terrific entertainment.

An Actor Prepares by Constantin Stanislavski
So much mystery and veneration surrounds the writings of the great Russian teacher and director Stanislavski that perhaps the greatest surprise awaiting a first-time reader of An Actor Prepares is how conversational, commonsensical, and even at times funny this legendary book is. After many productions with the Moscow Arts Company, Stanislavski sought a way to introduce his new style of acting to the world outside of his rehearsal hall. The resulting book is a "mock diary" of an actor describing a series of exercises and rehearsals in which he participates. Rarely has any writer on the theater achieved the sort of lucid and inspired analysis of the acting process as Stanislavski does here, and his introduction of such now-standard concepts as "the unbroken line," "the magic if," and the idea of emotional memory has laid the groundwork for much of the great acting of the 20th century.

Konstantin Stanislavsky 1863-1963: Man and Actor : Stanislavsky and the World Theatre : Stanislavsky's Letters
Originally published in the Soviet Union in 1963, this is a Stanislavsky centennial collection. It contains excerpts from memoirs referring to the great Russian actor and stage director. There are passages by Maxim Gorky, Anatoly Lunacharsky, Vladimir Nemirovich-Danchenko, Yevgeny Vakhtangov, Sergei Eisenstein, Emile Verhaern, Maurice Maeterlinck, Max Reinhardt, Jacques Copeau, etc. Most of the materials presented in this collection, including the brilliant letters by Stanislavsky, are little known abroad, and appear in English for the first time. The collection is lavishly illustrated. "The theatre is the finest medium of intercourse between nations. It reveals their most cherished aspirations. If only these aspirations were revealed more often ... the nations would shake hands, and lift their caps, instead of training guns on each other." - Konstantin Stanislavsky

Text in Action by Cicely Berry
Cicely Berry, Voice Director of the Royal Shakespeare Company, is world famous for her voice teaching. Text in Action contains the insights she has gleaned from 50 years of working with actors and directors across the globe. Here she draws on her group work to emphasis how actors and directors can use the rehersal process to heighten their collective awareness of language.

This book is essential for all actors and directors, covers both classical and modern writing. It includes pratical exercises to maximise understanding and communication of text.

The Actor and the Text by Cicely Berry (Applause Acting Series)
These words of Cicely Berry, the voice director of the Royal Shakespeare Company, speak to anyone who needs to speak his or her piece - in any arena, at sales meetings or religious revivals. Berry's book will insure that the speaker and the text gets heard - accurately and with true emotional range. Never again will one be accused of simply "reading a prepared statement." Berry's exercises to develop relaxation, breathing and muscular control will literally help everyone breathe easier when confronting the printed page.

Changing Circumstances : An Acting Manual with 24 Scenes
Changing Circumstances builds actors' versatility by altering the plots of eight original two-character scenes - but not the lines. LORINNE VOZOFF is an actress, director, and playwright who has taught acting for more than twenty years. Professionally trained in the Stanislavski system, Vozoff lives and teaches in Los Angeles, California.

The Empty Space : A Book About the Theatre: Deadly, Holy, Rough, Immediate by Peter Brook
Peter Brook's career, beginning in the 1940s with radical productions of Shakespeare with a modern experimental sensibility and continuing to his recent work in the worlds of opera and epic theater, makes him perhaps the most influential director of the 20th century. Co-founder of the Royal Shakespeare Company (RSC) and director of the International Center for Theater Research in Paris, perhaps Brook's greatest legacy will be The Empty Space. What differentiates Brook's writing from so many other theatrical gurus is its extraordinary clarity. His gentle illumination of the four types of theater is conversational, even chatty, and though passionately felt, it's entirely lacking in the sort of didactic bombast that flaws many similar texts.

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	Sanford Meisner on Acting (Vintage) "Sanford Meisner brings every actor who genuinely wants to stretch and bring stellar performances the wisdom to do so in this profound book. The definition of acting is "living truthfully under imaginary circumstances" which I learned from this book, along with top training at Playhouse West in North Hollywood, CA, where this book was required reading." - Barbara Rose, PhD "Born To Inspire"

	Stella Adler: The Art of Acting (Applause Acting Series) Adler was an eloquent and reverential philosopher 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.

	Stanislavski and the Actor by Jean Benedetti Stanislavski and the Actor is the manual which Stanislavski never had time to write. Using notes made by Stanislavski's assistants, exercises and improvisations used in class, transcripts of Stanislavski's own master classes (translated into English for the first time) and his knowledge of Stanislavski's earlier writings, Benedetti builds up a comprehensive description of the 'system' in contemporary language that is easy to understand by today's actors and teachers.

	An Actor's Handbook: An Alphabetical Arrangement of Concise Statements on Aspects of Acting by Constantin Stanislavski Stanislavski was the foremost influence on the "Method" school of acting, as developed by Lee Strasberg. Here in concise form is what Stanislavski himself said about acting, aimed at students, experienced theatre people and laymen interested in stage craft. These collected short statements on a variety of subjects cannot replace the full expression of Stanislavski's ideas and discoveries in his other books, but they will serve to refresh the reader's memory and pin-point what Stanislavski has to offer inquiring minds both in and out of the theatre.

	Building a Character by Constantin Stanislavski In (this book) Stanislavski, assuming the reader's familiarity with the 'inner technique', proceeds to study costume and the wearing of costume, bodily movement, voice, speech and the use of language, and tempo and rhythm - the more external but essential techniques whereby the actor learns to use his physical instrument . . . and he expounds them as only a master can; i.e., with the insight and authority of talent plus expeirence. Anyone who attempts to train actors or to direct plays will find here a great mine of practical wisdom.

	Creating a Role by Constantin Stanislavski The pattern of disciplined development of character is examined, from the actor's viewpoint, in three widely contrasting plays. For the actor in need of nourishment for his gifts and guidance for his enthusiasm, this book is immeasurably important; for anyone with an interest in theatre it is terrific entertainment.

	An Actor Prepares by Constantin Stanislavski So much mystery and veneration surrounds the writings of the great Russian teacher and director Stanislavski that perhaps the greatest surprise awaiting a first-time reader of An Actor Prepares is how conversational, commonsensical, and even at times funny this legendary book is. After many productions with the Moscow Arts Company, Stanislavski sought a way to introduce his new style of acting to the world outside of his rehearsal hall. The resulting book is a "mock diary" of an actor describing a series of exercises and rehearsals in which he participates. Rarely has any writer on the theater achieved the sort of lucid and inspired analysis of the acting process as Stanislavski does here, and his introduction of such now-standard concepts as "the unbroken line," "the magic if," and the idea of emotional memory has laid the groundwork for much of the great acting of the 20th century.

	Konstantin Stanislavsky 1863-1963: Man and Actor : Stanislavsky and the World Theatre : Stanislavsky's Letters Originally published in the Soviet Union in 1963, this is a Stanislavsky centennial collection. It contains excerpts from memoirs referring to the great Russian actor and stage director. There are passages by Maxim Gorky, Anatoly Lunacharsky, Vladimir Nemirovich-Danchenko, Yevgeny Vakhtangov, Sergei Eisenstein, Emile Verhaern, Maurice Maeterlinck, Max Reinhardt, Jacques Copeau, etc. Most of the materials presented in this collection, including the brilliant letters by Stanislavsky, are little known abroad, and appear in English for the first time. The collection is lavishly illustrated. "The theatre is the finest medium of intercourse between nations. It reveals their most cherished aspirations. If only these aspirations were revealed more often ... the nations would shake hands, and lift their caps, instead of training guns on each other." - Konstantin Stanislavsky

	Text in Action by Cicely Berry Cicely Berry, Voice Director of the Royal Shakespeare Company, is world famous for her voice teaching. Text in Action contains the insights she has gleaned from 50 years of working with actors and directors across the globe. Here she draws on her group work to emphasis how actors and directors can use the rehersal process to heighten their collective awareness of language. This book is essential for all actors and directors, covers both classical and modern writing. It includes pratical exercises to maximise understanding and communication of text.

	The Actor and the Text by Cicely Berry (Applause Acting Series) These words of Cicely Berry, the voice director of the Royal Shakespeare Company, speak to anyone who needs to speak his or her piece - in any arena, at sales meetings or religious revivals. Berry's book will insure that the speaker and the text gets heard - accurately and with true emotional range. Never again will one be accused of simply "reading a prepared statement." Berry's exercises to develop relaxation, breathing and muscular control will literally help everyone breathe easier when confronting the printed page.

	Changing Circumstances : An Acting Manual with 24 Scenes Changing Circumstances builds actors' versatility by altering the plots of eight original two-character scenes - but not the lines. LORINNE VOZOFF is an actress, director, and playwright who has taught acting for more than twenty years. Professionally trained in the Stanislavski system, Vozoff lives and teaches in Los Angeles, California.

	The Empty Space : A Book About the Theatre: Deadly, Holy, Rough, Immediate by Peter Brook Peter Brook's career, beginning in the 1940s with radical productions of Shakespeare with a modern experimental sensibility and continuing to his recent work in the worlds of opera and epic theater, makes him perhaps the most influential director of the 20th century. Co-founder of the Royal Shakespeare Company (RSC) and director of the International Center for Theater Research in Paris, perhaps Brook's greatest legacy will be The Empty Space. What differentiates Brook's writing from so many other theatrical gurus is its extraordinary clarity. His gentle illumination of the four types of theater is conversational, even chatty, and though passionately felt, it's entirely lacking in the sort of didactic bombast that flaws many similar texts.