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Acting - Theatre

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  1. Acting and Living in Discovery

    Carol Rosenfeld

    Acting and Living in Discovery

    "Carol Rosenfeld has a singular gift for discerning and nurturing in her students the live connections that release emotionally charged experience into active and meaningful play. Her book is a bottomless resource for the actor who aspires to that seamless merging of self and character that can make the theatre thrilling. It is hard and vulnerable work that she demands, but she is there with you as a guide, saying 'search here, observe there, sense this, question, question, question, and allow'—If you trust her, you will surprise yourself."
         —Edith Meeks, Executive and Artistic Director, HB Studio

  2. The Persuasive Actor

    Milan Dragicevich

    The Persuasive Actor

    Forthcoming - March 2019

    "No book can teach anyone how to speak, but the lessons herein, practically applied, will help everyone who reads it become a better actor, speaker, and communicator. This is an exciting, invigorating book which will be required reading for all my acting students. I predict it will become a celebrated text of great worth to educators and students." —Murray McGibbon, Department of Theatre, Drama, and Contemporary Dance, Indiana University, Bloomington

    "A must-have for all actors who encounter speeches that are longer than three sentences. On the surface, that would be classic works from Sophocles through Shakespeare—with the 17th and 18th centuries thrown in. Dig deeper and the book’s value to actors of modern and contemporary drama is inescapable. Ibsen, Shaw, Williams, Miller, Shepard, Wilson, Kushner, and Suzan-Lori Parks all wrote plays that are filled with powerful rhetorical devices that demand lively, thorough, and specific consideration. This book is a guide that unfolds the mysteries of classical rhetoric in a clear, concise, and effective manner, a book for speakers who want to move their audiences. It is aimed at actors, but also belongs on the shelf of lawyers, advertising copywriters, and, of course, public officials. I will use it in my classes and workshops and enthusiastically recommended it to all actors and actor trainers."
     —Leslie Reidel, Department of Theatre, University of Delaware

  3. Monologues from The Last Frontier Theatre Conference

    Dawson Moore and Laura Gardner

    Monologues from The Last Frontier Theatre Conference

    This excellent book contains 64 monologues designed specifically for auditions where the actor desires exciting monologues that are fresh and unfamiliar. The monologues are catalogued by gender and age. These monologues were selected from the Last Frontier Theatre Conference monologue workshop. The Last Frontier Conference is one of the longest running theater conferences of its kind. It has been held every year in Valdez, Alaska for the last 20 years.

  4. An Actor's Task

    Baron Kelly

    An Actor's Task

    An Actor's Task provides a framework for studying the dual arts of acting: inhabiting a character both physically and psychologically. Actors at all levels can use this book to explore, develop, and review the sensory tools and training that enable them to be the best versions of themselves and, ultimately, to bring that understanding of "self" to their art. 

    "Through a series of engaging exercises, this book filters out the complexities of various acting techniques and offers up an appealing hands-on approach."
         —Tonya Pinkins, Tony Award–winning actress

  5. Fragile Magic

    Ronald A. Willis

    Fragile Magic

    This is a brief, but handy book outlining the task of viewing theatrical performances and evaluating them. Although aimed primarily at the festival level respondent, it is a book that can enhance the ability to evaluate and respond to the theatre experience, creating at the broadest level a sensitive and enriched audience.

  6. Breathe and Speak

    Marc Clopton

    Breathe and Speak

    This book is a collection of fifty-five "open scenes" for actors in nine categories such as male/male scenes, three person scenes, and non-gender specific monologues. The scenes contain little to no stage directions or indications regarding specific emotions. The actor learns to say, "I don't know" to many details of the scene, and in doing so, must trust both the text and him or herself, his or her partner, and the moment.

  7. On Acting

    Steven Breese

    On Acting

    On Acting is written to support a new generation of actors/acting teachers by coupling fresh ideas and new approaches with the best proven methods and practices. It is primarily for the contemporary American actor and strives to address the acting process with an eye toward the performance culture and requirements that exist today. It is a book for the new twenty-first century artist--the serious practical artist who seeks to pursue a career that is both fulfilling and viable.

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