The Actor Training Reader

The Actor Training Reader is an invaluable resource for students and teachers of acting, offering access to a wide range of key texts that identify, explore, illuminate and interrogate the challenges, practices and processes involved in training the modern actor.

A companion volume to the highly-acclaimed Actor Training (Hodge 2010), this book collects key writings by influential actor training practitioners of the twentieth century. Established, widely used texts are set alongside less well-known ones in order to trace the development of actor training from the pioneering advances of Eastern Europe to the acting games of Augusto Boal. Each section boasts a specially commissioned introductory essay by an expert in that area of actor training, which will bring context, critical engagement and contemporary relevance to the extracts and offer provocations for further discussion.

Zusatztext 'There's plenty here for any serious student needing to get to grips with the theory and would make an excellent accessible starting point for anyone hungry for information but as yet not quite ready for any single practitioner's complete oeuvre.' - Susan Elkin! The Stage Informationen zum Autor Mark Evans is Professor of Theatre Training and Associate Dean at Coventry University. He researches actor training and theatre education. He has published books on movement training for actors and on the work of Jacques Copeau, written several articles on theatre training, and is an Associate Editor for the Theatre, Dance and Performance Training journal published by Routledge. Klappentext The Actor Training Reader is an invaluable resource for students and teachers of acting, offering access to a wide range of key texts that identify, explore, illuminate and interrogate the challenges, practices and processes involved in training the modern actor. A companion volume to the highly-acclaimed Actor Training (Hodge 2010), this book collects key writings by influential actor training practitioners of the twentieth century, introduced with essays from leading academics in the field of actor training. Key practitioners included are: Eugenio Barba;Anne Bogart;Bertolt Brecht;Peter Brook;Michael Chekhov; andKonstantin Stanislavsky. The book sets established, widely used texts alongside less well-known ones in order to trace the development of actor training from the pioneering advances of Eastern Europe to the acting games of Augusto Boal. The texts are grouped into thematic sections rather than chronologically in order to encourage a comparison of different approaches to similar aspects of the craft. Each section will have a specially commissioned introductory essay by an expert in that area of actor training, which will bring context, critical engagement and contemporary relevance to the extracts and offer provocations for further discussion. Zusammenfassung The Actor Training Reader is an invaluable resource for students and teachers of acting, offering access to a wide range of key texts that identify, explore, illuminate and interrogate the challenges, practices and processes involved in training the modern actor. A companion volume to the highly-acclaimed Actor Training (Hodge 2010), this book collects key writings by influential actor training practitioners of the twentieth century, introduced with essays from leading academics in the field of actor training. Key practitioners included are: Eugenio Barba; Anne Bogart; Bertolt Brecht; Peter Brook; Michael Chekhov; and Konstantin Stanislavsky. The book sets established, widely used texts alongside less well-known ones in order to trace the development of actor training from the pioneering advances of Eastern Europe to the acting games of Augusto Boal. The texts are grouped into thematic sections rather than chronologically in order to encourage a comparison of different approaches to similar aspects of the craft. Each section will have a specially commissioned introductory essay by an expert in that area of actor training, which will bring context, critical engagement and contemporary relevance to the extracts and offer provocations for further discussion. Inhaltsverzeichnis Introduction Mark Evans, Coventry University, UK. Prologue Jacques Copeau: Rudlin, J. & Paul, N. (eds.) (1990) Copeau: Texts on Theatre Konstantin Stanislavsky: Stanislavski, C. (1980) My Life in Art Purpose The Purpose of Actor Training Ian Watson, Rutgers University, USA. Extracts: Mike Alfreds: Alfreds, M. (2007) Different Every Night: Freeing the Actor Eugenio Barba: Barba, E. (1979) The Floating Islands Augusto Boal: Boal, A. (1995) The Rainbow of Desire:...

Autorentext

Mark Evans is Professor of Theatre Training and Associate Dean at Coventry University. He researches actor training and theatre education. He has published books on movement training for actors and on the work of Jacques Copeau, written several articles on theatre training, and is an Associate Editor for the Theatre, Dance and Performance Training journal published by Routledge.

Klappentext

The Actor Training Reader is an invaluable resource for students and teachers of acting, offering access to a wide range of key texts that identify, explore, illuminate and interrogate the challenges, practices and processes involved in training the modern actor. A companion volume to the highly-acclaimed Actor Training (Hodge 2010), this book collects key writings by influential actor training practitioners of the twentieth century, introduced with essays from leading academics in the field of actor training. Key practitioners included are: Eugenio Barba; Anne Bogart; Bertolt Brecht; Peter Brook; Michael Chekhov; and Konstantin Stanislavsky. The book sets established, widely used texts alongside less well-known ones in order to trace the development of actor training from the pioneering advances of Eastern Europe to the acting games of Augusto Boal. The texts are grouped into thematic sections rather than chronologically in order to encourage a comparison of different approaches to similar aspects of the craft. Each section will have a specially commissioned introductory essay by an expert in that area of actor training, which will bring context, critical engagement and contemporary relevance to the extracts and offer provocations for further discussion.

Inhalt

Introduction

Mark Evans, Coventry University, UK.

Prologue

Jacques Copeau: Rudlin, J. & Paul, N. (eds.) (1990) Copeau: Texts on Theatre

Konstantin Stanislavsky: Stanislavski, C. (1980) My Life in Art

Purpose

The Purpose of Actor Training

Ian Watson, Rutgers University, USA.

Extracts:

Mike Alfreds: Alfreds, M. (2007) Different Every Night: Freeing the Actor

Eugenio Barba: Barba, E. (1979) The Floating Islands

Augusto Boal: Boal, A. (1995) The Rainbow of Desire: The Boal method of theatre and therapy

Michael Chekhov: Chekhov, M. (1985) Lessons for the Professional Actor

Edward Gordon Craig: Craig, E. G. (1983) Craig On Theatre

Jerzy Grotowski: Grotowski, J. (1997) 'Performer', in Schechner, R. & Wolford, L. (eds.) (1997) The Grotowski Sourcebook,

Jacques Lecoq: Lecoq, J. (2000) The Moving Body: Teaching creative theatre

Yoshi Oida: Oida, Y. & Marshall, L. (1997) The Invisible Actor

Konstantin Stanislavsky: Stanislavski, K. (2008) An Actor's Work

Technique

Training the Actor's Voice and Body

Jonathan Pitches, University of Leeds, UK.

Extracts:

Antonin Artaud: Artaud, A. (1970) The Theatre and its Double

Eugenio Barba: Barba, B. (1986) Beyond the Floating Islands

Augusto Boal: Boal, A. (2002) Games for Actors and Non-Actors

Moshe Feldenkrais: Feldenkrais, M. & Schechner, R. (1966) 'Image, Movement, and Actor: Restoration of Potentiality - A discussion of the Feldenkrais Method and Acting, Self-Expression and the Theater'

Dario Fo and Franca Rame: Fo, D. & Rame, F. (1983) Theatre Workshops at the Riverside Studios

Jerzy Grotowski: Groto…